in color, late and burned in south africa, people with disabilities more likely to lose their jobs. in the pandemic black lives matter. shine a spotlight on racially motivated police violence, same sex marriage is being legalized in more and more countries. discrimination and inequality are part of everyday life. for many we ask why? because life is diversity to make up your own mind. d. w. need for mines. ah. ah, the relationship between an orchestra conductor is like almost any human relationship, which is to say sometimes or as magic sometimes had 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. the choices to have to be made always otherwise the quality will suffer ah, tend to nagondo and the don't is in bonnie or cast down many and 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. ken's nagondo back on the podium with the dea, so the duchess them pony or cast. our bellin 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 and 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 lady a miss young who years later introduced him to conductor, said you are in the 1980 nagondo studied with composer and conductor pierre booley

. another major influence was the great american composer, conductor leonard bernstein. the things that i learned from mister burns on 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 is, is quite seductive, seductive showing exactly what it is. and when you think about it, this is one of the most was

a 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 on all levels. ah, in 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 store 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 her mistress office 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 the invitation of mister southward to go to his concert. and at the intermission, a body guard took me back and i met frank zappa, and frank said, nice for a nice to meet you. you're can i gonna? i'm frank sapa 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 and we can talk. another few months went by and the next telephone call was to invite me to collaborate with him with the london symphony orchestra to record 3 records of his music. and because of that, we became very, very close and not as rock star or young conductor, but just purely as 2 people who were compulsive about music and wanting to make it at the highest way possible. in 2010 years after german reunification, kenton tagano 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 this is kind of a miracle. because when we met each other from the 1st moment, he was like, we found her. we send english, a soul mate. and that 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 9090 9 am, which is an incredible thing. 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 a miraculous or more magical relationship between the relationship between an orchestra and a conductor. is like almost any human relationship. which is to say, sometimes there's magic. sometimes it really works well. in 2021. the d. s. o celebrated it's 75th anniversary. for nagondo, the orchestra is unique, sound remains a lasting source of fascination. no matter who is the principal conductor, no matter how many generation changes are in the d. s o. sounds like the dsl is, is really fascinating. some of the colleagues say it must have something to do with d n a of the of the orca. somehow it lives on and it's communicated how to describe it. well, i would describe it is to d. s. o has always had a virtual so aspect. they've always had

a lot of solo istic capability within the orchestra. ah, concertmaster, has always been a big personality. the woodwinds have all the solar wind winds of all had big personalities, strong person, others, as in the public. when you go to see the d. s. so you, you see them actually as a play. ah, but even before he'd signed his contract, as principal conductor in 1999, nicole know, took the orchestra on a concert tour of japan. it feels like it was yesterday. actually it was the feeding of a new beginning with an orchestra conductor relationship. and you beginning for the d. s o to go to japan for the 1st time after many, many years and a new beginning that japan would actually welcome a chap, unease, american with

a german orchestra. something that had never really happened before. that's why i think all of us, all of the d. s o who, who remember that to or 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 looked 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 in german at the same time, to invite them to work with a german orchestra. it was who has a little bit upside down. but of course they're 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, in 2006. the maestro and the daughters in bonnie august abilene began work on a unique project. can't nagondo, conduct classical masterpieces in cooperation with deutsch havana. that was, i feel something very visionary, even deutsch avella, as far as i know as something of the skills as i was his kind of historical had never really been done with so much visual interviews, discussions about the composer. and until today, i haven't really seen any but thing so ambitious as this is huge project. that even as you recall, some animation sectors were involved, really free thinking, very imaginative explorations. the feeling within the orchestra.