Australia Tour 2018: Improvising on the Road

by Patrick Jordan, viola

Patrick Jordan, viola. Image: Sian Richards

One of the most civilized things about touring in Australia is that about half the time, we are put up in apartment hotels. Australians travel a great deal both internationally and domestically and so have worked some of these things out very well. The basic idea is this: in each accommodation there are two separate bedrooms which share a small living area and kitchen, most often with laundry facilities. The laundry facilities are most welcome on a three week tour when you only have 23 kg of luggage space!

 

One of the least civilized things about touring in general is that I am away from my kitchen, where I spend an inordinate amount of time cooking. I’m sure you see where this is headed. Apartment hotel with a modestly appointed kitchen, check! An evening off in Melbourne, check! The fantastic Queen Victoria Market a 20-minute walk away, check!

Queen Victoria Market. Photo: slowenglish.wordpress.com

What might not be so obvious is what I decided to cook. My treasured friend and colleague, oboist Marco Cera, has introduced me to several specialties of the Italian region of Veneto, where he grew up. Under his watchful gaze and with access to his mother’s recipes, I have learned several dishes, including baccala alla vicentina (salt cod braised in milk) and bigoli col anatra (a sort of fat spaghetti with duck ragu). Many years ago, as we were walking down the street in Seoul, Marco asked me, with his very dry sense of humour, “Patrizio, do you think we’re gonna find bigoli col anatra here?” To which I blandly replied, “Absolutely …” This has become something of a running joke, asked when we’re in some very unlikely place, “Patrizio, do you think we’re gonna find bigoli col anatra here?”

Nifra Poultry

Knowing we had time and opportunity, I decided that yes, in Melbourne, if possible, we were going to find bigoli col anatra. Or more accurately, I was going to find the ingredients and prepare it. I just love the challenge of trying to do something very specific in a very different locale, in part because it forces one to overcome some limitations, but also offers the opportunity to engage with local people in a way that one might not otherwise.

Patrick in his hotel kitchen with kangaroo sausages (kangah-bangahs)

Job one was to figure out what was practical in our very small kitchen (on this tour, Brandon Chui and I have shared accommodation). Of course, if you’re going to cook, why just make pasta? How about a second course as well? And you’ll need a little antipasto, too, to be properly welcoming. It is late autumn here, so we needed a menu that reflected the season as well. With the limited battery of pots and pans (and an eye to NOT setting off the smoke alarms), I could see doing the pasta and sauce, poached-then-browned kangaroo sausages (kangah-bangahs) with garlicky mashed potatoes along with some appropriate vegetable, and an antipasto to be named when at the market. Market, here I come!

The lynchpin of the meal was the duck, and if I couldn’t swing that, the whole meal would require a rethink. I had two sharp, but small knives, and I had decided that if I couldn’t find ground duck, I was not going to spend 45 minutes (and risk tendinitis) cutting it up myself; every challenge does have it’s limits. From previous tours, I remembered a nice butcher shop that deals in game, and when I got there, there was lovely duck breast to be had. I asked the young man serving me if he was set up to grind it, and he looked at me quizzically and said “I’m gonna have to work out what you mean by grind…” when a tiny, septuagenarian fellow-shopper in the queue next to me chirped, “MINCED!!” Yes he could mince it, problem solved. I also picked up the kangah-bangahs as I remembered them from our last trip to Melbourne — slightly garlicky with a hint of sun-dried tomato and basil. As he handed over my purchases, he asked, “Mind if I ask what you’re making with the duck?” I described both the dish and the friend who had asked for it, and he asked if I was a chef. I said no, just a devoted amateur. “A VERY devoted amateur with a very lucky friend I’d say,” he replied. Flattery will get you everywhere, mate; I’m sure I’ll be back to that shop if I’m lucky enough to revisit Melbourne!

 

The vegetable vendors were heavy with potatoes (all the ones I’ve seen in Australia have been squeaky clean, interestingly enough), and I got the rundown on which one would be best to mash: largish beautiful pink ones. It is autumn, again, and one of the veg dealers had the cutest, most tender looking broccolini, not cheap, but hey, you get what you pay for or a little less. Another part of this challenge is to minimize waste, and buy precisely what one needs. Butter came in bulk at one of the cheese shops so I could buy the 200g I needed. I picked up a half a head of garlic nobody else would likely buy, dropped 20 cents on a carrot and found a slightly mangled half a stalk of celery (it was headed for the sauce, so I was only going to mangle it further). One misstep was the pancetta required for the duck sauce; I asked twice to be sure it wasn’t smoked, but when I got back to the apartment I discovered it was (Marco said in the end that he didn’t mind). Olives looked good: one variety from Australia, a second from Sicily. I normally travel with both salt and pepper mills — the gods of improvisation smile on the man who is prepared.

Patrick and Dominic working in the kitchen

Everyone offered to help, but the kitchen was so small only one other bum would fit in it. With the able assistance of Dominic Teresi, dinner was served, savoured, and devoured. Among the limitations I couldn’t easily overcome in this case were serving space and capacity. To actually have a place to sit at the small table and have cutlery to use in our apartment, I had to limit the guest list to five, and I don’t think the pots and pans could have handled much more. All of which is to acknowledge that if my colleagues read this I may be in some hot water! On the other hand, after two weeks on the road I should be careful about presupposing that anyone would be looking for my company!

 


For the full Australia tour schedule, visit tafelmusik.org/Tours

Advertisements

Get to know Patrick Jordan, viola

Patrick Jordan has been a violist with Tafelmusik since 1995. He hails from Texas, and is also a member of the Eybler Quartet, based here in Toronto.

Patrick Jordan, viola. Image: Sian Richards

How did you come to choose your instrument?
Great story here. The Grade 6 orchestra teacher gave all the Grade 5 students a music aptitude test. I’d never had any real music instruction, but did very well (despite consistently mixing up the major and minor modes). We were told that one could choose the violin, viola, or cello for the next year. I had never heard of the viola, so that’s the one I chose!

What was your first music gig?
The first time I received cash for playing was excerpts of Messiah at some church in Lubbock, TX.

Who has been your greatest inspiration?
That’s a brutal one. My teacher in Lubbock, TX, Susan Schoenfeld, basically saved my life as an adolescent — she gave me work to do, a home away from home at times, and a carefully considered socialistic outlook on the world. Tick the inspiration box there! Another of my great teachers was Eugene Lehner, who taught me how to relate music emotionally and structurally, but also about why we teach. Tick the inspiration box there! Bruno Weil has been an inspiration. Jeanne Lamon has also been one. So have my Eybler Quartet colleagues Aisslinn Nosky and Julia Wedman. Perhaps the greatest of them all has been my treasured wife, Margaret Gay (also cellist of the Eybler Quartet). 

What is your “guilty pleasure” music to listen to?
There’s really just music; I think I did all my “guilty” time as a kid growing up on the buckle of the Bible Belt in Texas. What might be unexpected in my listening is Top-40 pop, R&B, and Ravel! My go-to comfort piece, about once a year, is Morton Feldman’s Rothko Chapel. If you haven’t heard that, do yourself a favour, and devote the 24-26 minutes to a profound experience. 

What are the last 3 recordings you’ve listened to?
Well, I’m in the middle of editing a new Eybler Quartet CD, so movements 2, 3, and 4 of Beethoven’s Op. 18, no. 6. (Editor’s note: the album is now available.) If you’d like a less navel-gazing answer, I can offer The Seven Last Words of Christ by Haydn, Build a Rocket Boys by Elbow, and Senesce by Nick Storring.

What is your favourite thing to do in Toronto during your free time?
Modesty forbids answering that directly. I do love cooking, however.

What’s your favourite restaurant in Toronto?
See the answer to the previous question — I don’t eat out a lot. Chiado, however, has never disappointed me.

 Where is your own, personal, oasis in Toronto?
About 40 cm to the right of my stove, where I do most of my kitchen time.

You have a night off — what do you do?
Between April and September I might go to a baseball game (Blue Jays, Toronto Maple Leafs of the Intercounty Baseball League, or more likely the Toronto Cardinals, my son’s elite-level team); as often as not, cook for a bunch of people!!

What is your great ambition?
To keep working and recording with the Eybler Quartet until the energy or money runs out.

Where do you see yourself ten years in the future?
In many professional fields, I’d be expected to have retired in the next ten years. Playing the viola means I might be able to squeeze another two or three decades out of it.

What words of wisdom would you pass to budding musicians?
Make your own fun. Whatever is being presented to you as “the way to do music” is a tiny slice of the whole picture. Play music that turns your crank, and you’ll almost certainly turn someone else’s!

Still becoming Canadian – Performing at Her Excellency Mme. Payette’s Installation as Governor General

by Patrick Jordan, viola

The vast majority of the music we perform in Tafelmusik is from Europe in the seventeenth to the early nineteenth centuries, a world dominated by royalty, birthright, and the rigid definition of society by class. We are, in all sorts of ways, trying to both understand that time, aesthetically, culturally, and socially, and also make that music relevant to the world that we live in today.

Tafelmusik with Her Excellency, Julie Payette
(L-R) Margaret Gay (cello), Patricia Ahern (violin), Patrick Jordan (viola), Elisa Citterio (violin), Mirko Trinchera, Her Excellency, Julie Payette.

Sometimes, a context for those aims presents itself, unbidden. Her Excellency, Mme Payette chose all of the music that was to be a part of her installation this past Monday, October 2nd. The range of performers was wide, inclusive, and inspiring. Members of Tafelmusik were invited to take part because the new Governor General was once a member of the Tafelmusik Chamber Choir, an experience that she herself has characterized as transformative. Upon reflection, the ceremony was also one of the most eighteenth century experiences of my performing career!

Karl Ditters von Dittersdorf, a contemporaneously significant if now largely forgotten composer and Kapellmeister of the second half of the eighteenth century (and great pal of Haydn and Mozart, both), wrote an autobiography in 1799, his last and sixtieth year. Amongst the tidbits of his recounts of daily life as a musician is the avuncular advice to young violinists (and I rely upon my memory here), “Before going to sleep at night, the young virtuoso is strongly advised to check the strings on the violin; if one should be found to be fraying, change it forthwith. Supposing the Prince demand it, and should you be called upon to perform the next morning at 6 a.m., better to have let the new string stretch for those hours, to ensure the purity of your intonation.”

Unlike Dittersdorf, as artists today, we enjoy immense autonomy — as a general rule, the audience waits for us to take the stage, not the other way around. Monday’s performance was very much at the command of the powers that be, and I can’t say I have felt that so intensely before. Tafelmusik’s position on the day was to play the first movement of Mozart’s Divertimento in D major, K.136 (no second repeat, we had to be done in +/- 4 minutes and 15 seconds) immediately after the address of our Prime Minister, the Right Honourable Justin Trudeau, and before Her Excellency Mme Payette’s first address as the new Governor General of Canada. Not a bad spot! But not a spot that offered a great deal of flexibility.

Investiture rehearsal
Rehearsal before the big moment in the Senate Chamber.

During the ceremony, we were again, with all the other performers, in the holding room until we were taken to the green room. Our rehearsal the day before had not included the 21-gun salute being fired by howitzers on Parliament Hill, nor the shaking of the glass in the windows on our walk upstairs! I am not so accustomed to such displays of power, which would have routinely accompanied the presence of dignitaries in the eighteenth century.

(L-R) Margaret Gay (cello), Patricia Ahern (violin), Patrick Jordan (viola), Elisa Citterio (violin), Mirko Trinchera, The Right Honourable Justin Trudeau.

Immediately after we played, we were taken back to the green room. It was from there, via closed circuit TV, that we heard Her Excellency’s first official address. Her messages of inclusion, striving to achieve, working as a team, and making decisions based on evidence to create the best possible world for us all were genuinely inspiring. At the end of the ceremony, all of the performers were asked to wait in the green room until Her Excellency Mme Payette and the Prime Minister, his wife, and the Minister of Heritage, Mélanie Joly, had the opportunity to greet us. We had been informed of the proper protocol for addressing the dignitaries, and had all practised up in advance. When they joined us (we were given a ten-minute warning then a three-minute countdown), the day took a very welcome giant step forward into Canada in the twenty-first century. I tried to squeeze in the “correct” address but didn’t really have an opportunity because each of them was so warm and direct. Her Excellency Mme Payette wanted to know if any of us present had been in the orchestra when she sang in the choir (no, I missed her by one year). Elisa Citterio, our new Music Director was next to me on the receiving line with her fourteen-month old daughter in her arms — Olivia was definitely a hit!

Live coverage of Investiture
They spelled our name right!

I truly wish that everyone in the orchestra and choir could have been part of this, but that was not to be. I know it would have meant a great deal to many of them, especially the people who have been here for even longer than I. Beth Anderson, our Director of Artistic Administration and Operations, was lucky enough to join us on this adventure. On the bus ride away from Parliament Hill, she remarked that she found it interesting that not one of the performers had actually been born in Canada. For a moment, I thought “That’s terrible!” but it quickly dawned on me that here we were, a group of high-achieving performers who have come together with the goal of creating a powerful team for good. Wasn’t that a big part of the inspiring message from Her Excellency?

I am fond of the notion that we are all becoming ourselves in the context of a world that is changing around us. I suppose I am still “becoming Canadian” like everyone around me, and last Monday’s experience was a particularly proud and inspiring part of that journey.

Performing in the Senate Chamber