breeland's history ah, the cities, a mosaic of different people and languages. iran's mountains reveal unparalleled beauty. that is well yeah, the scenery is magnificent, but people are warm and our position is exceptional. ah, a special look at a special country. iran from above. starts december 27th on d, w. ah, ah, the relationship between an orchestra conductor is like, almost any human relationship, which is to say sometimes or is magic. sometimes it really works well.

ah . you should not be satisfied. just with the ordinary. you should really be looking for and searching for an assist, insisting for exceptional quality. ah, there are certain things that i really would like to accomplish certain dreams, certain goals. sometimes that means i have to say no to other things for choices to have to be made always otherwise the quality will suffer. ah, hence nagondo and the duchess in bonnie or cast down many an almost magical

relationship. in his own words, for the american conductor, bringing that magic to audience is the world over, has been his life's work. ah, it's an emotional visit. kent nagondo back on the podium with the dia, so the duchess them bonita or cast. our belin nagondo is in his element for 6 years. he was principal conductor here in 2006, he left for the bavarian state opera in munich before eventually moving on to hamburg. but nagondo still feels a strong bond with the berlin orchestra and emotion. he knows how to channel for the audience. it is important to have a very intimate, an emotional,

spiritual, physical contact with the music, or as an interpreter. but during the moment of making music for the audience. and you have to have enough to us since at the same time that you can really be objective in terms of how we're performing to, to public. so the public can feel it. ah ah ah ah

ah a day earlier nagondo was leading the final rehearsal in the berlin philharmonic concert hall perfection. kent nagondo once said in an interview should always be the goal. anything else would be a betrayal of both art and audience in november, 2021. kent nagondo celebrated his 70th birthday, not long before he published his book, 10 lessons of my life in which he described some of the encounters that influence and inspired him. in 1979 nagondo sent some of his orchestral recordings to french composer and conduct or lydia miss young, who years later introduced him to conductor, said you are in the 1980s nagondo studied with composer and conductor pierre booley

. another major influence was the great american composer, conductor leonard bernstein. ah, the things that i learned from mister burns about conducting are the sorts of lessons that become apparent. many, many years later, he spoke as a humanitarian, also as a great artist and a great musician, mr. bernstein was one of the most physically organic communicators. he was also very good with, with text. he could speak very well, a great communicator, but also if you watch, watch the videos of his movement, it's is quite seductive, showing exactly what it is. and when you think about it, this is one of the most, i would say fundamental forms of human communication that we have just body

communication, body language. and sometimes when we grow up, we can forget this, you know, we, we've had so many social training exercises, but you should not sure how you're really feeling maybe that that's appropriate for certain circumstances. but for making music force, you need to be able to communicate in all of all levels. ah ah, the me,

the news . and yet another source of inspiration came from an unusual friendship. when i grew up in california, my parents, as especially my mother, really had a problem with this rock music. she thought it was not only not interesting. she thought it was really the wrong direction to go. and i remember once frank sapa and the mothers of invention appeared on the television, immediately it was turned off. it was just forbidden. many, many years later when i was visiting, i was invited to visit my school payable as in paris. and i got a tour and i saw on one of the announcement boards that pierre will as was going to

conduct frank zappa. and i was surprised. so when i returned to california, i did contact this office and explain to the office that mr. bull, as will be conducting some of the mistress of music, and i would like to see the music. i heard nothing back for weeks and then out of the blue fun announced the telephone rang and it was frank's up on the telephone. i was quite old. 2829 years old. never been to a rock concert, never in my life, a new experience. so my 1st rock concert was to go to at the invitation of mister south to go to his concert. and at the intermission, a body guard took me back and i met frank zappa, and frank said, nice, very nice to meet you. you're can i gonna? i'm frank zappa hero. i brought you some scores and it was

a mountain scores. they said, these are for you taken home, look them over, let me know what you think and if you are interested we can talk. another few months went by and the next telephone call was to invite me to cooperate with him with the london symphony orchestra to record 3 records of his music. and because of that, we became very, very close. not as a rock star or young conductor, but just purely as to people who are compulsive about music and wanting to make it as the highest way possible. ah . in 2010 years after german reunification, kenton nagondo arrived in berlin, a city in the throes of reinventing itself,

his time as artistic director and principal conductor of the d. s. o was another formative experience right from the start. he felt a great affinity with the orchestra the, this is kind of a miracle, because when we met each other from the 1st moment, he was like we found the, we send english, a soulmate. and the orchestra had just gone through a generation change. and at that time, it was just my beginning in germany as well. and we began this voyage together. there have now been 2 generation changes since i began in 1999. which is an incredible, i think, but yet somehow we've grown in a similar way so that the relationship feels, every time i return as if we've just picked up from yesterday. so it's,

it's kind of her, a miraculous or more magical relationship with the relationship between an orchestra conductor is like, almost any human relationship. which is to say sometimes or there's magic. sometimes it really works well. in 2021. the d. s. o, celebrated it's 75th anniversary. for nagondo, the orchestra's unique sound remains a lasting source of fascination. no matter who is the principal conductor, no matter how many generation changes her have been the dea, so sounds like the dea so's is really fascinating head. some of the colleagues say it must have something to do with d and a of the, of the orchestra. somehow it lives on and it's communicated how to describe it. well, i would describe it is to dia, so as always had a virtual so aspect. they've always had a lot of soloist stick capability within the orchestra.

ah, the concert masters always been a big personality. the woodwinds have all the solar woodlands of all, had big personalities, strong person, others that as in the public. when you go to see the dia, so you, you see them actually as they play. ah, but even before he'd signed his contract as principal conductor in 1999 nagondo took the orchestra on a concert tour of japan. it feels like it was yesterday, actually. and it was the feeding of a new beginning with an orchestra conductor relationship, a new beginning for the dia. so to go to japan for the 1st time after many, many years and a new beginning that japan would actually, well,

a chaplain is american with the german orchestra. something that had never really happened before. that's why i think all of us, all of the d. s. o, who remember that to her? they don't forget it either says something very special and vision lungs. um it was quite strange. communicating with a japanese choir. okay. speaking german and english. and it was especially attention for me because i look like i should be able speak japanese, but my japanese is his horrific. it's really nearly nonexistent. it was a bit of a surrealistic situation for me as a, as a, someone of japanese heritage working with a japanese court and speaking english and german at the same time to invite them to work with the german orchestra. it was who has a little bit upside down. but of course his saying they're saying very,

very well and there was no problem at all. ah, i, what's most interesting about tours is that one has the opportunity to spend quite a bit of time together with your colleagues outside of what the normal lifestyle is. and it's an opportunity where you can draw closer together, where you get to know each other. so that was also a great opportunity to come together as an old sambal

in 2006, the maestro and the deutsche as m bonnie orchestra bellin began work on a unique project. can't nagondo, conduct classical masterpieces in cooperation with deutsch havana. that was a, i feel for something very visionary of m deutsch. avella. as far as i know, something of the scales as that 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 think so ambitious as this is huge project. that even as you recall, some animation sectors were involved really free thinking very a imaginative m 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 is let's try to play for the international her audience, the international public that we can reach through to which about classical masterpieces. showcased 6 important symphonies by 6 master composers. one was johan asked, but arms symphony number 4 ah 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 remains so active in my repertoire today. it is noise music. so to say, ah, ah

ah, what makes 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, and 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 that 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 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 are like the piece in october 2021. the conductor premiered the piano concerto, terra nostra at the philharmonic in berlin. a work by the french composer o dog bruno boomy, born in 1982, a lot of years old. and he plays them on the fringe river. and of course nagondo was wielding the baton for the dsl ah,

the piece is special because we been talking about the past, present and future. so one of the things that the bruno bloom yay, 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. homer phonic, so you hear these chords that are moving vertically. well the rest of the orchestra is moving horizontally paula phonics, and the tension that comes from the vertical and horizontal colliding together. ah, the japanese p and it's marie coma with the solo, with that the premier and the source of inspiration for who know, boom, yay, work. a beethoven expert, she has performed many works with a dsl and nagondo at the helm. and she's been married to the conductor for more than 30 years. when mario and i 1st met we,

they were there was no question of any romance of any. there is no spark of falling in love or something like that. we met as professionals on the concert stage, and we gave many, many conscious together and i always enjoyed it because with mara and me, we were so close musically that for a little discussion was needed. and when i would hear her play, it felt her 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 brimming 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 the 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 as frank south of the

same thing, don't you ever get tired of touring with your band and going over and south of 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 everyone has the wonderful situation where they are able to have as their occupation something that is 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, with

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