Copious Notes

Alastair Willis talks to the Lexington Philharmonic audience about Beethoven and the weather before Friday night's concert. Photo by Rich Copley | LexGo.

Alastair Willis looked at the group assembled in the Presidents Room of the Singletary Center for the Arts, and for a moment, he looked like he might have no idea what to say to the people.

Then, pre-concert chat moderator Joe Tackett asked him to tell the audience about himself.

“I always got the report cards that said, ‘He could be good, if he practiced,’” Willis, the ninth candidate to succeed George Zack as music director of the Lexington Philharmonic, said to knowing laughter.

And he was off, delivering one of the most relaxed, entertaining, and simultaneously insightful pre-show gab session of the conductor search. He told the crowd about his days in the Bristol University Music Society (you do the acronym), his big sister Sarah who plays French Horn in the Berlin Philharmonic, and even parried with Tacket over the infamous bass concerto question longer than any other candidate — he could program all six bass concertos Tackett deems worthwhile in one season . . . could.

But the Seattle man — via Cincinnati, via Houston, via England, via Russia, etc. — wasn’t all droll humor, as he thoughtfully considered questions like the roll of the orchestra in a community: “There’s not one set answer for what the role of an orchestra in a community is, because the community determines that.”

Onstage in the Singletary Center concert hall, Willis opened the concert telling the audience Beethoven’s Symphony No. 6, which was on the program, contained, “all the weather conditions you have recently had here.” Introducing Osvaldo Golijov’s Last Round, he noted that Golijov has been called the “Beethoven of this generation,” and reminded the crowd that Beethoven was once a contemporary composer.

Discussing his current career as a full-time guest conductor, he told the pre-show audience that the No. 1 goal of a guest conductor is, “to get invited back, because you’ve got to put food in your refrigerator, right?”

Come to think of it, being invited back was sort of his goal here, too.

Your thoughts?: Click here to tell the Philharmonic what you thought of Willis.

Review news: Due to deadline constraints, Loren Tice’s review of last night’s show could not be ready for Saturday’s paper. But it is already up on LexGo.

More music: If you liked last night’s concert, or feel like you missed something and want to make up for it, there are two real good opportunities this weekend:

• Gil Shaham and the University of Kentucky Symphony Orchestra perform at 7:30 tonight.
• To get more of the Latin flavor of the first half of last night’s show, you may want to catch the La Catrina String Quartet at 3 p.m. Sunday in the Singletary Center recital hall.

Alastair Willis conducts the Lexington Philharmonic in a rehearsal Tuesday night at the Singletary Center for the Arts Concert Hall. Photos by Rich Copley | LexGo.

Click the play button to hear our chat with Alastair Willis:

Copious Notes podcasts are available on iTunes.

Alastair Willis’ résumé reads like a world tour. He started playing piano when he was a boy in Russia, took up trumpet and then conducting while he was living in England, continued his conducting studies in Houston, toured Japan and other foreign lands with Yo-Yo Ma’s Silk Road Ensemble, and held posts with orchestras in Cincinnati and Seattle, where he lives now.

This week, Willis, 37, who speaks with a British accent, has set his sights on Lexington, where he is the ninth candidate to succeed George Zack as music director of the Lexington Philharmonic Orchestra.

“Every conductor needs an orchestra, and every orchestra needs a conductor,” Willis says when asked what attracted him to Lexington. “My research of this area and this orchestra has showed wonderful support for the arts and wonderful potential for future growth here, and I don’t know any conductor who’s currently not got a music director position who wouldn’t be interested in that.”

After one rehearsal, on Monday night, Willis had a good impression of the Phil, saying, “The orchestra seems open to what I have to offer.”

On Tuesday, he threw the players a bit of a curve ball, rehearsing Osvaldo Golijov’s Last Round, the opening number of Friday’s concert. It requires the violins and violas to stand as opposing orchestras, with the basses and cellos seated in the middle. After some initial confusion, he pulled a fairly flowing rehearsal out of the players.

Willis had no hesitation about coming in and shaking things up a bit.

“Why have we always played in the form we always play in?” Willis asks, referring to the Phil’s traditional seating arrangement. “Because it works. Because it’s how orchestras historically sound best, for most of the repertoire. No one’s ever going to change that, but I love to find the variety.”

Willis has experienced a lot of variety in the past few years. He was in Cincinnati in the late 1990s for a year as assistant conductor of the Cincinnati Symphony and Pops Orchestras and director of the Cincinnati Symphony Youth Orchestra.

He says he loved the experience working under symphony conductor Jesús López- Cobos and pops conductor Erich Kunzel, but Cincy didn’t offer what he thought he really needed: “podium time.”

So Willis moved to Seattle, where as assistant and then resident conductor he was able to direct more than 100 performances in three years.

In 2003, he went the free-lance route, guest-conducting around the world and hanging out, when he could, with leading orchestras. He has a particular in with the Berlin Philharmonic, where his sister, Sarah Willis, plays fourth horn.

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Alastair Willis conducts the Lexington Philharmonic in its first rehearsal of Osvaldo Golijov's "Last Round," which requires violinists and violists to stand as opposing orchestras. LexGo photo by Rich Copley.

When Lexington Philharmonic Orchestra fans are settled into their seats Friday night, they’ll find that the musicians aren’t.

The violins and violas, at least, will be standing, poised to dance and maybe throw down a few punches — musically, that is — playing Osvaldo Golijov’s Last Round. The piece calls for the musicians that can to stand, and guest conductor Alastair Willis is too happy to follow that order.

“I’m all for that,” Willis said in an interview Tuesday afternoon. “Why have we always played in the form we always play in? Because it works. Because it’s how orchestras historically sound best, for most of the repertoire. No one’s ever going to change that, but I love to find the variety.”

Willis explained the variety presented in Last Round, which will open Friday’s concert.

“You’ve got two string orchestras set apart from each other,” Willis says. “There should be a gap down the middle, and straight in front of me are the basses, holding everyone together. It’s a wonderful visual. There’s a stereo effect of one idea bouncing across the stage from one orchestra to the other, and you have the concept of two tango dancers who are perhaps involved with each other, arms flailing, legs thrashing.”

Willis has had a chance to consult with Golijov through their work with Yo-Yo Ma’s Silk Road Ensemble and the Chicago Symphony Orchestra, where Willis has conducted and Golijov is composer in residence.

“His music just speaks to new audiences,” Willis says of Golijov. “It’s an incredible fusion of classical ideas with non-classical ideas — modern jazz, modern folk music — in the most original way.”

Also on the concert is Alberto Ginastera’s Harp Concerto and Ludwig Van Beethoven’s Symphony No. 6 (Pastoral) which will be played in traditional orchestra seating.

Note: I’ll be Twittering the Grammy Awards tonight, using the hashtag #grammys, if you want to join in the chat.

Discovering new music is often a matter of trust, particularly if you are interested in exploring something like contemporary classical music.

Osvaldo Golijov. Photo by John Sann | Deutsche Grammophon.

Yes, you can just dive in and start listening to any piece composed in the past 50 years - classical music is a field in which that would be considered “new.” But exploration is often more interesting if you find artists whose tastes you appreciate and you keep up with what they’re doing.

That’s how I discovered Osvaldo Golijov.

The Lexington Philharmonic audience will get its first chance to hear Golijov on Friday, when guest conductor Alastair Willis conducts the orchestra in a performance of Golijov’s Last Round, a piece that helped introduce the composer to many listeners in 1996.

“He looks to be a voice to be reckoned with,” London’s Independent wrote of the world premiere of Last Round, commissioned by the Birmingham Contemporary Music Group.

The group was created by conductor Simon Rattle, an artist whose contemporary tastes I started following many years ago when he was making ear-grabbing recordings with the City of Birmingham Symphony Orchestra.

But that is not where I found Golijov.

It was Kronos Quartet’s and Dawn Upshaw’s work with the composer that initially intrigued me, and when I heard it, I had to hear more.

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