{"id":138161,"date":"2025-05-23T11:39:21","date_gmt":"2025-05-23T15:39:21","guid":{"rendered":"https:\/\/panm360.com\/?post_type=interviews&#038;p=138161"},"modified":"2025-05-23T11:46:58","modified_gmt":"2025-05-23T15:46:58","slug":"abbey-road-at-festival-classica","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/abbey-road-at-festival-classica\/","title":{"rendered":"Abbey Road at Festival Classica"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">This week at Festival Classica, violinist, conductor, and composer <strong>Guy Braunstein<\/strong> brings a bold reimagining of the Beatles\u2019 final studio album to Quebec audiences with the <strong>North American premiere <\/strong>of his<strong> <em>Abbey Road Concerto<\/em><\/strong>. Scored for solo violin and orchestra, the piece reimagines material from the Beatles\u2019 <em>Abbey Road<\/em> as a through-composed concerto\u2014eschewing nostalgia in favor of transformation. Performed by the <strong>Orchestre symphonique de Trois-Rivi\u00e8res<\/strong> under <strong>Alain Trudel<\/strong>, the concerto offers a striking reinterpretation of beloved songs like \u201cCome Together\u201d and \u201cHere Comes the Sun,\u201d refracted through Braunstein\u2019s distinctive symphonic language. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Abbey Road by The Beatles for violin and orchestra \u2013 arranged by Guy Braunstein | Behind-the-scenes\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/9s4TZ3eUcmY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: Good morning, Maestro Braunstein. Is now a good time?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: It was\u2014until you called me \u201cMaestro.\u201d Just call me Guy. My mother strongly recommends it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: Well Guy, you must be very excited about the North American premiere of your <em>Abbey Road Concerto<\/em>. I know we all are.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: You bet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: So how many times have you performed this concerto now so far?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Around ten, maybe more. In several countries. I also recorded it for a CD, so yes\u2014it\u2019s got some miles on it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: And how has the reception been?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: People go crazy. I\u2019ve done a lot of transcriptions\u2014Tchaikovsky, Dvo\u0159\u00e1k, operatic stuff\u2014but this is different. The audience reacts very differently compared to a standard violin concerto. It\u2019s a whole other experience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: You\u2019ve said this isn\u2019t just an arrangement, but a full-scale concerto. How did it all begin?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Totally unplanned. About six years ago, my son\u2014he was six at the time\u2014got infected with Beatlemania. He discovered the Beatles and became obsessed. He\u2019d keep asking me to play Beatles songs for him on the violin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: So you started with a few sketches?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Exactly. I made some short encore pieces, just for fun. But then the pandemic hit and suddenly I had a lot of time. I thought, \u201cWhy not make a proper arrangement of one Beatles tune\u2014with piano accompaniment?\u201d So I started listening to their late albums, and when I got to <em>Abbey Road<\/em>, I had a problem: I liked everything. I couldn\u2019t choose.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: So what did you do?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: I said, \u201cTo hell with it\u2014I\u2019ll take the whole bloody thing.\u201d And I started writing a full-blown concerto for solo violin and orchestra.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: <em>Abbey Road<\/em> already has a sort of symphonic architecture. Did that influence your decision to orchestrate it?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Sure, it\u2019s not just about loving the music. I love Led Zeppelin too, but I can\u2019t do anything with their music on the violin. <em>Abbey Road<\/em>, though\u2014I could hear how it could work orchestrally. It offered so much possibility.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: How did you approach arranging the album? What was your process?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Normally I start with a full orchestral score and maybe make a piano reduction later. But this time, I began at the piano\u2014just playing through the songs, exploring textures. Then I orchestrated. I had a plan, but I had to revise it constantly.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, I added a bass trombone to mimic Paul McCartney\u2019s powerful bass lines. Nothing else could replace that sound. The bass trombonist is going to be very busy tonight.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: The first half of the concert includes other arrangements of Beatles songs, right?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: That&#8217;s right yes. I haven\u2019t heard that part yet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: You\u2019re not the first to orchestrate Beatles music\u2014what sets your approach apart?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: I know I\u2019m not the first. People have been arranging Beatles tunes since they were still active. But I\u2019ve done this in a purely classical way. A few conductors have said it\u2019s more classical than <em>Rhapsody in Blue<\/em>. It\u2019s not a crossover piece\u2014it\u2019s a concerto.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And I\u2019ll let you in on a secret: the violin part is brutally difficult. A couple of years ago, I played the Sibelius, <em>Abbey Road<\/em>, and Tchaikovsky concertos three weeks in a row. Sibelius and Tchaikovsky are tough, but <em>Abbey Road<\/em> was far more demanding.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: Did working so closely with the music change your relationship to it?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: I grew up in Tel Aviv in the \u201970s. Everything got to Israel ten years late, so I basically grew up with the Beatles\u2014listening to LPs, radio. It was already part of my musical DNA. But when you dig into something that deeply, you always rediscover it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: I imagine you noticed details you\u2019d never picked up before?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Absolutely. After the first symphonic performance, I recorded it and went back to the studio. I made a lot of revisions. Technology can help you imagine things, but it doesn\u2019t replace real people playing music. I\u2019ve had the luxury of refining it after hearing it live, which is very much in line with how classical composers worked.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: I\u2019ve been reading Geoff Emerick\u2019s book\u2014he talks about the Beatles&#8217; studio experiments, like George Harrison\u2019s discovery of the Moog synthesizer on <em>Abbey Road<\/em>. How it added such a rich, orchestral texture was a totally novel sound at the time.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Yes\u2014and that curiosity is what made them great. I saw some of Peter Jackson\u2019s <em>Get Back<\/em> doc and also the Bernstein biopic with Bradley Cooper. Totally different musicians, but they had that same drive: curiosity ready to explode. That\u2019s what separates good musicians from great ones. They\u2019re always hungry. The Beatles could\u2019ve stayed in their comfort zone, making hits like \u201cI Want to Hold Your Hand,\u201d but they pushed boundaries instead. They could\u2019ve made a fortune repeating themselves, but they chose to evolve. That\u2019s why they remain the most fascinating pop group ever.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: And that\u2019s why your concerto feels so fresh\u2014it gives people a new way to hear something they thought they already knew.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: Let\u2019s hope the audience feels that way tonight.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PAN M 360: I imagine the orchestra enjoys the change of pace too?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Guy Braunstein<\/strong>: You\u2019d think it\u2019s a break from Stravinsky, but no\u2014they\u2019ll be sweating tonight. It\u2019s hard work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week at Festival Classica, violinist, conductor, and composer Guy Braunstein brings a bold reimagining of the Beatles\u2019 final studio album to Quebec audiences with the North American premiere of his Abbey Road Concerto. Scored for solo violin and orchestra, the piece reimagines material from the Beatles\u2019 Abbey Road as a through-composed concerto\u2014eschewing nostalgia in [&hellip;]<\/p>\n","protected":false},"author":1388,"featured_media":138165,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[4628],"tags":[10035],"genre":[3087,3117,3248],"class_list":["post-138161","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","tag-festival-classica","genre-baroque-pop-2","genre-modern-classical","genre-orchestral-pop"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Abbey Road at Festival Classica - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/abbey-road-at-festival-classica\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Abbey Road at Festival Classica - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"This week at Festival Classica, violinist, conductor, and composer Guy Braunstein brings a bold reimagining of the Beatles\u2019 final studio album to Quebec audiences with the North American premiere of his Abbey Road Concerto. 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