In 1973, newly-hired Philadelphia Orchestra violinist Davyd Booth was called to sub for an ill colleague on a tour to China. This was not just any tour. It was the first ever American symphony tour in Communist China.
China, which had been closed off to the world since 1949, was not a very known entity—“like going to Mars,” Davyd said.(See post one.)
Life in China was vastly different than anything they’d ever known. (See post two.)
The Philadelphia Orchestra landed in the midst of China’s Cultural Revolution. (See post three.)
The Orchestra carefully navigated potential pitfalls, but were stumped when Madame Mao asked the impossible. Would they play Beethoven's Sixth rather than symphony they had practiced and brought music for: the Fifth. (See post four.) The orchestra had not brought along musical scores other than that which they intended to play, and China officially did not have classical music. However, after a thorough search some scores materialized, and the orchestra gave a favorable performance. (See post five.)
They were surprised by the audience’s reaction, which seemed strained. (see post six.)
Despite the tepid response, that 1973 Tour left a strong impression. Artists like Tan Dun credit his change in life direction to the moment he heard the concert broadcast in the fields where he toiled (see post seven.)
The ’73 tour created a volcanic eruption of classical music (See post eight.) Since that ’73 tour, Davyd and the orchestra have returned eleven times. Each time they are welcomed, and that first tour is remembered and celebrated. (See post nine.)
More than that though, a strong bond between China and the U.S. has formed.
China, which had been closed off to the world since 1949, was not a very known entity—“like going to Mars,” Davyd said.(See post one.)
Life in China was vastly different than anything they’d ever known. (See post two.)
The Philadelphia Orchestra landed in the midst of China’s Cultural Revolution. (See post three.)
The Orchestra carefully navigated potential pitfalls, but were stumped when Madame Mao asked the impossible. Would they play Beethoven's Sixth rather than symphony they had practiced and brought music for: the Fifth. (See post four.) The orchestra had not brought along musical scores other than that which they intended to play, and China officially did not have classical music. However, after a thorough search some scores materialized, and the orchestra gave a favorable performance. (See post five.)
They were surprised by the audience’s reaction, which seemed strained. (see post six.)
Despite the tepid response, that 1973 Tour left a strong impression. Artists like Tan Dun credit his change in life direction to the moment he heard the concert broadcast in the fields where he toiled (see post seven.)
The ’73 tour created a volcanic eruption of classical music (See post eight.) Since that ’73 tour, Davyd and the orchestra have returned eleven times. Each time they are welcomed, and that first tour is remembered and celebrated. (See post nine.)
More than that though, a strong bond between China and the U.S. has formed.
“There’s a back-and-forth thing," said Davyd. "It’s not just 100% that the
Philadelphia Orchestra goes to China…We’ve developed very close working
relationships. We sometimes work with the Chinese orchestra as we play
together. We do workshops. We do instructional things. It is light years beyond
just the relationship of going there and playing concerts.
"The Chinese are part of us, "said Davyd. "And the Philadelphia Orchestra
is part of them. It’s an incredibly important relationship.”
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| Beijing's National Center for the Performing Arts Performs in Philadelphia, 2017. |
With gratitude this concludes my interview with Philadelphia
Orchestra Violinist Davyd Booth.
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