in 2006, the maestro and the deutsche as m bonnie orchestra bellin began work on a unique project. kent nagondo conducts classical masterpieces in co operation with deutsch havana. that was a, i feel for something very visionary of am deutsch avella. as far as i know, something of the skills as i was his kind of historical had never really been done with so much visual, her interviews and discussions about the composer. and until today, i haven't really seen any but thing so ambitious as, as huge project. that even as you recall, some animation sectors were involved that really free thinking very, a imaginative em explorations. the feeling within the orchestra was that this was an opportunity to explore at this time,

new technology to try to reach millions of people and throughout the entire world. and that was what made the orchestra so excited about the project as, let's try to play for the international her audience, the international public that we can reach through tortuga classical masterpieces showcase to 6 important symphonies by 6 master composers. one was johan as bombs symphony number 4. ah

ah ah, with 4th is symphony. i do have a personal relationship with it. now the piece to me seems like an unusually strong statement of the future. her not at all conservative, it's something that actually is nearly a radical sign post towards the future. and that's why it remain so active in my repertoire to day it is noise music. so to say, ah, ah

ah, but begs repertoire. so wizell is that the composer will bring the sounds of the future, bring us to the future so that the public is really anchored in the future. but a composer also will let us hear the past while we're in the future. so the last movement of, you know, in the for symphonies, the pasa kaya and ancient form that brahms brought back as a part of the future. the pasta kaya that's been used since, since broke times, and even before. so for us it, it may be, today's doesn't feel so radical,

but at the time he was a clear sign post that the 20th century is coming for our tradition is going forward. that's why i feel today the for symphonies such a pivotal symphony and why, for example, sure, and back faber and are so fascinated with with this with yet contemporary composers have always played an important role for kent nagondo as well. a try at least to search for works and search for composers i feel are not ordinary. but extraordinary. so that what i offer to the public,

i honestly have to believe that it is of exceptional quality and has something profoundly meaningful to say. my personal experience is that are more often than not of a piece that it is all our time that i've chosen to playing the public will be at the very least willing to listen to it, willing to give it a chance. and very often, they all like for peace. in october 2021, the conductor premiered the piano concerto. tara nostra at the philharmonic in berlin. a work by the french composer for dog bruno boomy, born in 1982, a lot of years ago. and he plays them on the fridge. and of course nagondo was wielding the baton for the dsl. ah,

the piece is special because we've been talking about the past, present and future. so one of the things that the bruno blew me a is playing with is exactly this putting layers of time together, independent voices that are traveling in, in time together, coordinated of course. but from a melodic standpoint, completely free and, and moving, ah, the pull of any is taking place primarily between the 3 trumpet solos and the string movement. at the same time, the piano and the precaution,

they are playing off times very, very vertically, hulma phonic. so you hear these corps that are moving vertically. well, the rest of the orchestra is moving horizontally. paula, frantically and the tension that comes from the vertical and the horizontal colliding together. japanese pianist, marie coma, was the soloist at the premier and the source of inspiration for bruno buoys work a beethoven expert. she has performed many works with the d. s. o and nagondo at the helm, and she's been married to the conductor for more than 30 years. when mary and i 1st

met we, there were, there was no question of any romance of an air. there was no spark of falling in love or something like that. we met as professionals on the concert stage, and we gave man a many conscious together. and i always enjoyed it because it with mary and me we were so close musically that for a little discussion was needed. and when i would hear her play, it felt so close to my own feeling or my own aesthetic that it was very natural, very organic. he was only after many, many years that we actually came together as a, as, as a couple and, but still whenever we're appear on the stage together, i still count myself is very fortunate because the musical connection is a very, very natural one. so yeah,

sometimes i can get in trouble if i don't conduct correctly. al ridi here in a very strong way. that should be better. we do haven't quite an open dialogue as professional musicians. and that somehow doesn't get in the way of personal dialogue as well. i can't nagondo still maintains a full concert schedule in his free time. he enjoys windsurfing back home in california. it's a great way to reach arch. nagondo is still burning with plans and ideas for musical projects at earlier phases. you just want to simply do as much as you possibly can all of the time, but choices do have to be made always otherwise the quality will suffer on the other side. and here i will quote frank zappa,

because someone asked frank south of the same thing. don't you ever get tired of touring with your band and coming over and safa said, actually, i feel i'm one of the most privileged people because i have the privilege of making music. and this is what i would like to do in my free time. not every one has the wonderful situation where they are able to have as their occupation, something that has also their passion. so in that sense i, i feel very fortunate and that is a stroke of fortune for us. kent nagondo, a life in music. ah

ah. a grand finale and the closing chords of this edition of arts 21 until next time. good bye. and al vitti zane ah ah ah

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