APO Phil News Winter 2020

Pushing the
Boundaries
With the world premiere of Gary
Kulesha’s Oboe Concerto around
the corner, Richard Betts talks to
the composer and APO Principal
Oboe Bede Hanley about this
exciting new work.
8
Bede Hanley has turned a little pale.
“Now you’ve got me worried,” says the
APO’s Principal Oboe.
That wasn’t the intention. We’re
actually here to talk about his upcoming
performance of Gary Kulesha’s Oboe
Concerto, a work commissioned by
Hanley and the APO that receives its
world premiere this October.
Kulesha is a big deal, and so is any
commission from the composer widely
considered to be Canada’s best. He
doesn’t accept many.
“When you’re young you have to take
the commissions that come your way,”
says Kulesha from his home in Toronto.
“Now I try to figure out what I want to do
then find someone who’s interested in
committing to it. But in this case, Bede
came to me and I was thrilled.”
The pair know each other from way
back. In 2011 Kulesha wrote Zephyrs, a
work for two oboes and cor anglais,
which was premiered by Bede and his
colleagues in the Canadian Oboe Trio.
At 24 minutes, the concerto is twice
the length of Zephyrs, and one of
Kulesha’s more substantial works.
“It was a challenge, because
concertos are difficult to sustain
intelligently,” he says.
They are generally difficult to play, too;
the ultimate expression of the soloist’s art.
“My take on that is: if it’s impossible,
that’s my problem. If it’s really, really, really
hard, that’s not my problem.”
And this piece? It’s by all accounts
really, really, really hard.
“The solo part is just fantastically
difficult,” the composer admits cheerily.
“Because Bede encouraged me
to think so far outside the
box I thought, ‘You know
what, I’m going to write
this kind of theoretical
cadenza, send it to him
and see what he says’.”
The oboist’s
response went something
along the lines of, “I can’t
play it yet. But I will.”
As far as Bede is concerned,
GARY KU LESHA
the work contributes to the natural
evolution of his instrument’s repertoire.
“When the Strauss Oboe Concerto
was written [in 1945], people said it
couldn’t be done. Now any talented high
school student can play it. With this new
piece, it’s my job to figure it out. Our level
needs to move on. So yeah, it’s really
hard, but that’s kind of the point.”
While it’s difficult, the concerto won’t
be a display piece padded with empty
virtuosity where the music ought to be.
According to the composer, the
concerto has a solid symphonic
backbone, and fans of Kulesha’s
music will recognise some of
his compositional signatures.
“I’ve always been a very
rhythmic composer,” he says.
“And I consider lyricism to be
absolutely crucial; whether
you’re writing tonal music or
music that is less tonal,
melodic writing is critical. To me,
you can’t create convincing long
pieces just out of texture.”
IMAGE: ADRIAN MALLOCH