When Thomas Crawford takes the stage at Alice Tully Hall on May 7 for “Magnificently Mozart,” it will cap his 40th year as the American Classical Orchestra’s founder, director, and conductor. The Upper West Sider will be leading New York’s top period-instrument orchestra in a performance featuring works by Mozart and Beethoven. It’s all in an evening’s work for a man whose joy is to ignite a passion for classical music in audiences.
From the Classical Music for Kids program, which has brought live performances to over 500,000 school kids, to classes at LaGuardia Community College, to captivating the imagination and attention of virtually every member of a live audience, Crawford knows how to connect people with great composers of the past.
Debra Toppeta, the president and chair of the ACO’s board, found herself drawn in more than 10 years ago. “He really has a knack of bringing people in . . . He gives a little bit of music history and explains the piece and why it was structured the way it was. He’ll highlight certain pieces and say ‘. . . and then Mozart did this. Listen to this.’ And then, when he gets to that part in the concert that he’s spoken about, he turns around and looks at the audience and smiles,” she said, adding, “He wants everyone to enjoy the music as much as he does.”
We caught up with Crawford to discuss the upcoming concert and his 40 years as a conductor.
While your career has been stellar, long, and varied, a keynote is teaching people young and old about period instruments and how beloved classics sounded when they were first performed. Why?
Musical instruments were first assembled into an “orchestra” in the early 18th century. At that time, all of the construction materials, the wood, the strings, the bow hair, the timpani heads, were made of organic materials. I think of it in terms of seeing Williamsburg paint pigments made from natural sources like blueberry, mustard, ocher. When synthetics and conglomerates became increasingly available in the 20th century—plastics, steel, DayGlo!—something was gained (homogeneity) and much was lost (original hue). . . . Natural trumpets bark, but don’t bite with volume that blows everyone else off the stage. I’m drawn to the glorious blend of those instruments known to Beethoven, which means that the great literature comes to life in a much more visceral way. When period instruments and informed techniques are employed, emotional access to timeless music is enabled for us.
Tell us about “Magnificently Mozart,” which you saved for your season finale.
Mozart and Beethoven are the epicenter of the ACO repertoire. We are American CLASSICAL Orchestra to refer to the historic era from 1750 to 1825. We use instruments that were at a state of evolution to match this period in time. For the May 7 concert at Alice Tully Hall, we have Mozart’s famous bassoon concerto played on a classical-era bassoon by principal Andrew Schwartz. We also perform the thrilling Haffner Symphony, one of Mozart’s crowning achievements. We are honored to host a brilliant fortepianist from Hungary, Petra Somlai, to perform the unparalleled Beethoven 4th Piano Concerto on a replica 1815 fortepiano. The piano will be brought from the prestigious Cornell University historic piano collection.
You’re known for introducing pieces in a way that engages audiences—young and old, with all levels of knowledge—giving people new ways to listen. How do you accomplish that?
By using the things our mothers taught us! Don’t talk down to people. Don’t use big words to impress. Speak in a conversational manner even if describing technical subjects. Use humor. Have fun.
A life in the arts isn’t the easiest path. Is there a moment in your journey that has made it all worth it?
Yes. Channeling masterpieces from the past into the present time, thus extending those beautiful vibrations into another generation, is worth every effort.
Is there a memorable moment or story you’d like to share?
When I was on the board of the Westport Arts Center, I attended a large gathering of board and community leaders. Even in Westport, home to Paul Newman and many other A-list actors, people would pine for the participation of celebrities or billionaire business leaders. “Oh, if only we could entice Paul to be honorary guest at our gala, our problems would be solved.” Westport’s grande dame of music was a friend of mine (and a child prodigy, and Holocaust survivor). Heida chimed in at the meeting, saying, “Why do we always chase after fancy celebrities, when right here in our midst is a talented, handsome young man who cares about our community?”
There was silence, and the publicist in the room lowered her bifocals, surveying each and every face, then said, “Where is he? I don’t see him.” I broke the ice by saying that, at age 23, I was still a work in progress. Everyone laughed. The publicist concluded that I possessed the admirable ability to laugh at myself.
After 40 years, what keeps you and the ACO inspired, and what’s next?
The unending pursuit of beauty. More unending pursuit of beauty. Sometimes at our school shows, a 3rd-grader will ask, “Why do you do this?’ I usually respond with “Because beauty is important in our lives, and your lives. . . . Don’t shortchange an opportunity to bring beauty into your daily life.”
Masterpieces affect you when you’re in their presence but hopefully remain with you long after the last note. What do you hope audiences experience during “Magnificently Mozart,” and what do you hope they’ll carry with them when they leave?
Please carry warmth and awe away after our concerts. As for me, I actually have something of a Zen-like posture on this subject. I believe that sympathetic vibrations from music are the Holy Grail of life in this universe. When I experience perfect sympathetic vibration (which is extremely rare), I can tell that this slice of sound, this access to divine alignment, allows these exact vibrations to last to eternity. This is infinity, that a vibration diminishes over time but never completely dies.
American Classical Orchestra, Thomas Crawford, conductor; “Magnificently Mozart,” May 7, 7:30pm, Alice Tully Hall, with a meet-the-artists reception afterward.
Featuring
Mozart’s Bassoon Concerto in B-flat Major—Andrew Schwartz, bassoon
Mozart’s Symphony No. 35 in D Major, “Haffner”
Beethoven’s Piano Concerto No. 4 in G Major, Op. 58—Petra Somlai, fortepiano
Tickets: $75, $55, and $35 at aconyc.org, lincolncenter.org, or the Alice Tully Hall box office; or by calling CenterCharge at 212-721-6500
“He wants everyone to enjoy the music as much as he does.” — Debra Toppeta speaking about orchestra conductor Thomas Crawford