Johannes Grosso will co-direct Gran Partita with a fellow woodwind powerhouse

BY CHRISTOPHER LEON

This May, the Melbourne Symphony Orchestra is taking two of its leading instrumentalists, and putting them front-and-centre as dual directors of an upcoming concert program. Principal Oboe Johannes Grosso (pictured throughout) will direct woodwind musicians through Gran Partita, Mozart’s work featuring in their concert program of the same name. Meanwhile, Principal Clarinet David Thomas will direct a work by Strauss in the same event. It’s a collaborative process if ever we’ve heard one, and we sat down with Johannes to ask him what’s involved in the preparation of this event dedicated to the sounds of the woodwind instruments.

You’ve entered the role of Principal Oboe — what‘s it been like performing with the MSO in this capacity?

Playing as Principal Oboe with the MSO is incredibly exciting, as every week brings something different. My role extends beyond the orchestra to chamber music projects like Gran Partita and occasional solo appearances, such as Mozart’s Oboe Concerto in June, for example.

What I particularly value about the MSO is the freedom it gives musicians to embrace these different roles. This has had a strong influence on me: being involved in such a wide range of repertoire, settings, and ensemble formats constantly challenges me, and greatly develops my creativity as an artist.

For Gran Partita, you’ll be sharing the role of director with MSO Principal Clarinet David Thomas. How are you approaching this joint experience with David?

I was immediately excited and very happy to accept when I was asked to share the directing role with David Thomas for this project. It has been very easy, firstly because David is a wonderful colleague and we communicate very naturally, and secondly because our roles were clearly defined from the beginning. I am responsible for the musical direction of Mozart’s Gran Partita, while David is in charge of the artistic direction for Strauss’s Serenade Wind Sonatina No.1 in the same concert. In the end, the only real collaboration required was coordinating rehearsal schedules, and structuring the rehearsal process.

What does it mean to direct the MSO Wind Ensemble, and what elements of this role do you enjoy the most?

For me, directing the MSO Wind Ensemble is particularly exciting because it requires a deep engagement with the full score. It means studying the work both as a whole and in its finest details, in order to develop a clear and coherent vision of the piece. This vision is at once personal and structured, and from the very first rehearsal, I aim to offer clear and thoughtful choices in terms of tempo, phrasing, and articulation.

From there, the process naturally becomes collaborative through discussions with colleagues. The interpretation can and should evolve, but it is essential to arrive with a strong and well-defined initial perspective.

What personal connections do you have with the works on the program?

I have quite a long personal history with this piece. It was actually my first project with what later became my first professional orchestra, the Orchestre Philharmonique de Radio France. Since then, I’ve performed it several times in France and Germany, and more recently in Australia with students from the Melbourne Conservatorium of Music.

As always with Mozart, the music seems simple and natural on the surface, but as a performer, you can always go further. Even after playing it many times, you continue to discover new details, and develop new ideas to bring this incredible music to life.

Having performed with so many different musical organisations around the world, what is it that makes the MSO special to you?

I’ve worked with many orchestras around the world, and in the end, each one has its own culture and identity, which can evolve from week to week and season to season depending on the musicians and the conductors involved.

What I particularly appreciate about the MSO is, firstly, how flexible and open-minded the musicians are, both in terms of repertoire and in their approach to the profession and performance formats. At the same time, the atmosphere is always very positive and supportive.

I don’t know if it’s something related to Australian culture, but it makes for a very enjoyable working environment.

Both you and David share a passion for passing your skills, knowledge, and experience onto the next generation of classical musicians. How does teaching through your masterclasses help you reflect on the future and direction of classical music?

I was fortunate in Europe to teach at the Norwegian Academy of Music in Oslo. Here in Australia, I also have the opportunity to teach regularly at the Australian National Academy of Music.

Teaching is always a way of reflecting on our own musicianship and artistic journey, sometimes even on our own doubts. From a broader perspective, it is also a window into the place of classical music in today’s society. It helps us stay connected with the younger generation and with the professional challenges they face.

Before we go, what most excites you about the upcoming Gran Partita concert?

What I am most looking forward to in the upcoming Gran Partita concert is the famous Adagio. The oboe part is absolutely beautiful, and for me it always feels like a very special moment; one of those rare passages where time seems to stand still, and the music speaks in the most direct and profound way.

It always brings to mind the film Amadeus by Miloš Forman. The music of the Adagio is used in a scene where Salieri describes it as the voice of God. It’s a very powerful image, and one that resonates deeply when performing this music.