This post is inspired by a beautiful initiative presented by a philharmonic orchestra of Grand Canary, La Orquesta Filarmónica de Gran Canaria. Last Sunday, its 79 musicians played and recorded themselves from their homes, apartments, and gardens. Their technicians mixed and edited the audios and videos, to give a magical impression that the orchestra played together.
The performance is stunning musically, technically, and also humanly, and you can watch it here.
One additional aspect struck me as I was reading the final credits: how multilingual the whole endeavour was. The orchestra is Spanish, the conductor is British, the soloist is Latvian, the musicians, judging by their names, are from all over the world, and the music is Gustav Mahler’ Resurrection Symphony.
Classical music is one of the fields where multilingual is normal. A question is often asked whether having a musical ear (which is definitely not my case) helps one to learn foreign language. Singers have to learn texts in a variety of languages paying particular attention to pronunciation and enunciation, and these techniques can be used by simple mortals to improve their accents. Still, between being able to perform in a language differs from speaking it, thus researchers are not certain about the relation between musical and language learning abilities.
More significantly, I think, is that many musicians lead truly multilingual lives: they study abroad, perform all over the world, travel to competitions and festivals, and have international friends, colleagues, and often families. For example, the soloist in the video, Elīna Garanča, who is my favourite opera singer, probably masters at least five languages: Latvian, Russian, English, German, Spanish, and sings also in Italian and French.
On a completely different note, multilingualism in the music world is satirically reflected in a film Prova d’orchestra (‘Orchestra Rehearsal’) by Federico Fellini, where Italian musicians revolt against the conductor, who speaks with a heavy German accent.