From Chennai to the Musikverein: Atul Isaac Jacob becomes first musician from the city to conduct at Vienna’s iconic concert hall

I’ve been to Vienna before, but this is my debut at Musikverein. Two years ago, I competed at an international conductor competition there, and I won an award for recognition of talent. Later, I was invited to Vienna to conduct and mentor child prodigies from around the world.

The children I worked with were aged between 8 and 11, and they were from all around the world, including Korea, Japan, Taiwan, China, Los Angeles, and some from Vienna itself. They had to go through an audition based on certain parameters and were later selected to perform piano concertos of an exceptionally high standard. The experience felt a bit daunting, as they were required to play one movement from each of the piano concertos by Mozart, Haydn, and Beethoven. A few even performed vocal and cello pieces.

Interestingly, the students were well-acquainted with music of such complexity, and their preparation was astronomically high. Their teachers came from diverse methodologies of teaching, primarily Russian and American. With that level of preparation, auditioning and being accepted into a programme in Vienna was a significant achievement.

There were four sets of concerts, 14 children for two weeks, totalling around 28 students. There were two guest performers as well, bringing the number to about 30. Each week, the repertoire varied slightly to match the students' capabilities.

Interestingly, this wasn’t a competition. Upon arrival in Vienna, they underwent three days of intense masterclasses led by professors from the piano department at the University of Music and Performing Arts. These children, performing from memory, handled highly advanced repertoire across different styles and eras. For example, when performing Mozart or Haydn, students had to consider the instruments of that time, like the harpsichord, and interpret their pieces accordingly, even though they were playing on modern pianos.

As the conductor, I had the opportunity to sit in on these sessions, which was incredibly valuable for learning the nuances and techniques of performance. Vienna is renowned for its rich musical heritage, and it's this deep-rooted tradition that makes the Vienna Philharmonic one of the top orchestras in the world.

Day five marked the first time the children sat in with the orchestra. This was a major milestone, especially considering that piano concertos are vastly different from solo piano pieces. A piano concerto is essentially a musical conversation between the soloist and the orchestra. There are moments when only the piano plays and others when both piano and orchestra interact, so the dynamic is constantly shifting, filled with subtle nuances.

For young musicians at this level, performing such advanced repertoire is a significant challenge. In some sections, like cadenzas, the soloist has room to improvise and showcase their skill. But outside of those moments, the music follows a specific tempo and style, shaped by the orchestra and conductor. These aspects were carefully taught in the masterclasses.

Each child had only 10 minutes for their first rehearsal with the orchestra. That’s all! With 14 children and a broad repertoire spanning multiple eras and genres, time was extremely limited. So, the question became, ‘What can you actually achieve in just 10 minutes?’

We, as conductors, were given a brief window to go over style and interpretation. For example, explaining how Baroque music should be performed. Then the children came in to rehearse their pieces, just once. The orchestra was made up of professional-level musicians, including university students and freelance musicians. The standard was truly exceptional. Day six was the general rehearsal followed by the first concert.

It felt almost surreal! During the first week, we had the privilege of performing at the historic Haydn Palace, the very place where Austrian composer Joseph Haydn was commissioned to compose and premiere many of his works. Often performed at the suggestion of the emperor, Haydn’s symphonies and compositions came to life in that venue, giving the children the experience of playing those same works in a space steeped in musical history.

The second concert was held at Musikverein. For both the children and us conductors, performing there was truly a dream come true. It’s often called the temple of Western music, and only those who are thoroughly prepared, deeply studied, and highly disciplined can hope to perform on that stage.

You can’t just show up and wing it. You have to adapt quickly. There's a lot of thinking on your feet, and it's not about last-minute preparation. It's about drawing on everything you've studied and internalised over many years, bringing all of that into play in a very short amount of time.

The people you’re working with are of an exceptionally high calibre. This isn’t an entry-level environment. The level of communication is elevated, and you're using a musical vocabulary that’s typically reserved for professional musicians. Everyone there speaks that language fluently, and you’re expected to do the same. It was just too good to be true.

Before MGPA, I was the accompanist for the Handel Manuel Chorus under Sharada Schaffter (music conductor). I took over as conductor in 2019. We tried to revive the legacy of what Uncle (Padma Shri) Handel Manuel, who founded the Madras Philharmonic and Choral Society, did. Even after his passing in 1994, there were still musicians who felt strongly about continuing to sing and keep the spirit of the society alive. So, seven of us came together and decided to formalise our efforts by registering a new society with the government. That’s how the Madras Guild of Performing Arts was born in 2022. I remember how carefully we deliberated over the name. Chennai already has many ensembles, so we asked ourselves, what makes us different? It was important to choose a name that reflected our intent without confining us to a genre.

We chose ‘Madras’ because that’s where we’re from. We felt that ‘Chennai’ didn’t have a nice ring to it. The word ‘Guild’ represents a collective of talent, a place where diverse skills come together. Yes, we focus on choral work because that’s our strength, but that’s not the only thing we do. The scope is vast, and it’s important to stay nimble and adaptable and to be able to explore a wide range of genres and styles.

My musical roots come from my mother’s side. Both my parents encouraged me to explore that interest from an early age. I picked up the piano, and I am privileged to have started lessons at the age of five with Alice Manuel Aunty, wife of Padma Shri Handel Manuel. Learning under Alice Aunty opened up an entirely new world for me. As time went on, I couldn’t continue learning from her directly. I had other teachers over the years, and I simply continued with Western classical music because I was completely hooked.

I also dabbled in Carnatic and Hindustani music. I have always grown up with an open mindset of appreciating and valuing music. I even performed in a few Carnatic concerts when I was very young. The vocabulary might differ in the styles, but it is really beautiful.

It gave me a better perspective when I served as the organist and accompanist at Egmore Wesley Church, where I played the pipe organ for the congregation and accompanied the choir. It shaped my skills in a profound way. I became more known as an accompanist than a concert pianist (piano solos). I was then assigned to be the conductor for the children’s choir at Egmore Wesley Church. After that, I was put on to larger ensembles like the Madras Musical Association and Sharada Schaffter’s Handel Manuel Chorus. I then shuttled between accompanist and conductor, but once I took on conducting, that became my primary focus. However, I am quite adept at playing the piano. Currently, I serve as one of the organists at St. Andrews Church (popularly known as the Kirk) and also teach music at the American School.

I honestly can’t name one. As a child, you're not always exposed to all kinds of music, and it takes time to cultivate a certain interest. When I first started learning to play the piano, the songs I wanted to play were mostly nursery rhymes, the kind you'd learn in kindergarten. Over time, that naturally evolved into playing popular cinema songs. Today, kids are learning cover versions of Katy Perry or Taylor Swift.

What we’re exposed to at a certain age really shapes our musical preferences. For me, there wasn’t a single person I can point to as my sole inspiration; it was a mix of everything around me.

One challenge I have is that I constantly push myself. Every time I perform, there's always something new to look forward to. One aspect we observed about most ensembles in India is that many performers rely heavily on sheet music during performances.

As choristers or performers, we must truly internalise the music. We need to learn it to a level where we can experience it ourselves so we can then communicate that experience to the audience. People don’t attend concerts to watch performers buried in sheet music. Audiences can watch that at home on a screen, so why come all the way to a concert hall? The real challenge we faced in our earlier concerts was getting everyone to learn the music thoroughly and perform from memory.

Chennai is definitely the cultural capital. There's a strong appreciation for the arts here, including Western classical music. But the audience is evolving, and they want newness. So, we as performers need to keep up with the times. What was considered a hit in the early '60s, '70s, or '90s might not be a hit today.

People are always looking for something unexpected. Once a performance has been seen a couple of times, the excitement fades. As performers, it’s our responsibility to present something fresh and engaging. It’s a beautiful challenge.

For example, if you attend a concert by maestros like Ilaiyaraaja or AR Rahman, you already know what to expect. But for composers and musicians outside the film industry, those who aren’t already known through the big screen, the challenge is different. How do you present something new? Even within the Margazhi music season, we see new artistes, new compositions, fresh styles, and new ways of presentation. This desire to seek new is also influenced by how much people travel, experience concerts around the world, and want to bring that inspiration back home.

We have a concert in September at the Museum Theatre. We're exploring a range of genres, but our main focus is on elevating performance standards. The choir is preparing rigorously and performing a mix of familiar songs alongside lesser-known pieces. Our goal is to present something the audience cannot easily predict. Our next performance is scheduled for December at the same venue.

One of the challenges we often face is the perception that a choir automatically means Western music, typically associated with churches. But the Madras Guild of Performing Arts breaks away from that expectation. Every concert we perform supports a cause that benefits the community. We believe in using music as a powerful medium to connect with people and, in turn, make a positive impact.

Unlike church choirs, which focus on sacred music, we’re not confined to any one genre. Our repertoire spans everything, right from classical to contemporary, from film music like The Lion King to arrangements by artistes like Pentatonix, and even iconic themes from movies and sitcoms. We're intentionally exploring a wide range to offer something fresh and relatable to our audience.