get more news on our website, that's d, w dot com. the 2 great composers for concerts 8 symphonies, highlights from the homes, talk inputs in 2022 alone that i did up how to conduct each brom symphony with one by drawing jack, that is probably one of the most beautiful music ever written from symphony on the channel is physically and emotionally, very, very talent, life joy and it's this wrong form song. for intensive weeks ever, hudson, wisconsin, and conversations join us as we followed the creative process of the symphonic cycle. the

problem, be careful with the, with the hearts seem to be some source but too long from side, but it's not em. let's just do it more naturally. it's just, it's weird too, thinking too much the i'm share with already at that data. co principal, 2nd violin of the mentions team when he got we're in munich and it's, it's a pleasure to work with you with only have those 3 days of rehearsals. and what i love about the way we've set up the orchestra this time is that normally you house

the 1st and the 2nd rollings on the same side on my left as a group. and this time we have the 1st readings and my left on the 2nd some the right there and different other would require a different assessing which, which has, has challenges. all sorts of benefits. i think for this to symphonies is couldn't be better because there's a lot of writing where it goes like that. but it also demands a lot from the principal, 2nd island. i have grown into that position and when i started playing 2nd maryland, i really enjoyed. so much and we have really, we have the color, we have the full screen, the items are not playing with this orchestra because this is, we always have the liberty to, to, to take quite a strong there's new colors and everything because rarely does he have one instrument which would be for a couple of words actually has a much,

much cleaner pilot bronze you know, is, makes oil and what are color and changes from one to the other. for example, which is night. sounds serious, almost degrades, like really like water color. and then he gets to the real emotion of oil. the spot is always clarity. and there's never a endorsement exactly where if you're nice thing, a lot of people think it's all about indulgence. but actually, as you know, the music is written in such a clear way that you can not lose any moments the,

[000:00:00;00] the as well. i'm gonna say, wait a moment, mine too high low rate. why? because you should listen to this 1st bar. and in part this, the super romantic scheme comes very shiny. the typical brown. this is from a bronze and then show and then you just explode. oh, i mean, we know he was always enough. oh is in love with the and he couldn't really say it on, uncompleted loving unders frustration of impossible love. it's okay. the she has this da da da da da da da da da da and so forth. he's already going back and then he goes to the depths of his illness as in german,

this longing, i know exploding this most said to me, that sounds great. and also the way your line with the violins pressed by the end, the end of your lives. just flash, there's so many disciplines is there that it just suits your lenses like you can taste every nodes and feeling that comes from extreme desperation in pain. and as i say, he does the southern and he kind of gather sins of bar codes like, okay, now this is, this keeps keeps thinking, you know, and then this line with a clarinet and it's saying into me he just shifts and, and also his ability on the piano is so clearly seen. i think that's why when you play it, it's not so easy to know because it comes from club. this is a general general plague versus you can't tell where it's heading, whether it's going to be c minor or

e flat major. so it's like beethoven. when she gets ambivalence, is it minor or major? nothing. that's why when you're listening to it, you have a sense that the composer is searching for some things and can only find what they're looking for in the final movement the semester. so i can share some listings. that's an for me, the character of the, of, of the 1st woman is, is this struggle, this, this, this trying to get out know that, um that the, that, that, that, that, that, that, that, that, that, that, that, that the job i'm up i'm up on by that the, the, the, the, he's always trying and felt so smart i'm, is still installing because i'm at least it doesn't really flow. oh, it keeps coming to a standstill and has to find a way to flow again to be brought into motion. don't get lost in

the field a despite the stuff gotta uh, do you gotta just let it be and then times really so be 2 pennies to so i'm here with jamie white, the principal, the soonest of the mentions symphonica. and it's so great to work with you. it's a new center. likewise. i think his, his use of the bus one is very particular. know often he's a, he's making you being part of the sydney melody with, with the violence for example, like the beginning of the 2nd movement of this 1st symphony. tell us about about that. yeah, i think it's a wonderful moment is exactly what we, i'm what we've talked about and rehearsals as well this week. and these 2 inter movements the 2nd and 3rd and the seconds in particular. more of a long and 2 legs to serve and pick symphonic sound and sound worlds.

and i'm being something much more intimate was real chamber music like a serenade, something much more and internal and i'm from the child. and so the service in the same problem says, music which is the chamber music that we make across the orchestra, across these sometimes quite large distances. and yet it feels in that moment that i could be sitting in the 1st my range 6. and then the thing is, is gorgeous, always very sensitive and i always really aware of others, which is so nice. you're looking to make timber music with, with your colleagues that and i see that and that's for me is like, i'm not throw in so it's a joy. thank you so much. they make it very easy for us and all the things you,

the, [000:00:00;00] the things that somebody else inserts. in contrast to the 1st movement, do you have melodies that are very lyrical, you understand them immediately and are carried by the emotion of the solo violin. also reminded me of beethoven's mesa sullenness with the soul, the violin in the benedicts, which prompts quotes in the 1st piano concerto. c t, it was the soap. perhaps there was

a kind of spiritual aspect to the it goes up so high here and ends with the soda violin and g sharp in the meat. so so then he says, i think it's the g which floats upwards, almost to having the a good the mirror image, the defense of lightness is suddenly there, which was missing. and the 1st to,

to move in the, and he was always saying, my music is up. so it's a blessing to find that really funny because it is like, yeah, sure, sure your home is, your life is all and it's everything you live, this is so clearly that is just you wouldn't a, it's about my feelings, but it's exactly, it's okay and it's it's almost a month the, but it's also are, you are, i must say. and what you're talking about is made it very clear you see very clearly and then the way that you have also brought so many different voices that i would never hear. yes. oh, that's fine. sorry. you know, so that what i, what i did is that's for me, of course, embarking on a brum cycle, which is something that all the major greatest conductors have done. everybody's

whose name is important has recorded it. so to think, okay, what do i have to offer and something that's been done so many times. and my approach has been to really just sit with the music, read as much as i can and listen to it. no recordings, nothing i've, i haven't really listen to anybody. so i'm just really trying to see what that's telling me. i would love to meet you like what is your love and it would be great as you would meet from i don't know, i would give him the as possible, but i think people create public persona and we have been very good at creating personalities that we believe are the people, but i'm not sure that that's really the person. and when i hear the music, this is really something he wrote. and he said, there's not any. this is nothing anybody said about 10 minutes where she said about

himself the and what i see is someone course with give you a hug back with. laugh would be excited to see, you know, and i'm really trying to push the borders of everything. he's really walking on the edge and, and trying to see how much can he like pointed to the line opposite in every way. and for that you need to be very brain and got see

the so beautiful. it's so beautiful and i think he's always trying to fit into the central european tradition expectation i hear of up in the music all the time. this both worlds, the are these opposing forces in terms of the ideas and teams and a site in 2 minutes. and it's amazing to see the quality between the european and the dark and obscure eastern europe. and so i was amazed how much this took me all the time. i don't really just think that it's about landscape shining moments. beautiful. i'm free. it's full of springs. the i love the fact that this since in a pest control panel,

together with problems 1st, because i think it offers more more lightness and more conviviality the country to a lot of the symphonies of the time. and where to do with tragedy in faith and, and struggles. logics age is, is the happy happy piece a is it you again and just relax that question. question question is one of my, my,

my favorite symphonies. and one of the 1st ones i've ever conducted. and um, i think the difficulty of this piece lies in its simplicity. it sounds like, like sometimes like children's music because it's very clean to a good thing for the children saw or a bird called labels. there's a very strong association with nature in divorce out for me, this is the tour and the birds. and then suddenly the dark sound of the requirements, the, i feel it's exactly the opposite of what central european music is. and what's his really upbringing is more that cause the son of a butcher,

he really wanted to, to make it to be respected in vienna. and by this stablish meant as a check composer, which was where he was always sitting like less or thing. and actually was brahms, who always says this is a talent is attendance taking seriously and it was supposed to be played at the vienna philharmonic and then suddenly she didn't hear back. no, no calls back on the front of the musician said no the so what she was going to was was very serious. i see of up in the music all the time is full for the most of the and i didn't need another was right to the needed needed this

a spice of difference. the sounds a bit like um like uh, music books like pulse like a dog. mm. hm, so what do you have it says in the arabic does it remind you of particular music at the new field? that's where it's coming from. i'm from albania, and i started in the united states and i've never heard this since 18. before i move in, so i was quite young of a sofa and 6. and then the 1st, the rehearsal we had with an orchestra. i was amazed how much this took me home. fishing for me,

especially the small notes that are such goose gestures. i think that's the whole eastern european music and i've been in the southern europe as well. course you can to years more in parts of the site. i think i can see that the i've been in composer. we're very to actually the 1st one is a lot in someone between the eastern european and the latin american river because we come from down the you know, everything is beautiful. it's like a sunset. it's like people find a really likes thing on happened as 7 the there's also don't forget 7. so they're difficult to get here. yes. the difference of the 2 worlds are always there and you know the pot on the, on the, on the. yeah,

the, it's like you're seeing in a 11 place, you know, a beautiful landscape of europe. and then in the 2nd, when you see the eyes of o an eastern european woman or something that's rocks and that's the is always within like it next the whole there was always pain. there was always, don't forget, which was like a major or minor. so typical east european i think that got that. yeah. hi john. bob. bob, um find out. i think this is so strategy for me. it's like in the middle of such a beautiful the, the places uh yes. like the fates like the weight of life. no more, this price, the

big jump, it's a little more bonus. is that, that, that, that, that, that you have them that sometimes it sounds like there are these opposed and look forces in terms of the, the spirit of the music. but there are also so many common ideas and feelings and sentiments this quick change of spears that fascinates me about divorce young's music. yeah, send me the, the, the 8th. it has such a spree and brilliancy on the what do you think are the influences in musical for to have been i found

a quote in a letter from 1889. when you want to know what i do and just know it's easier than i expected you to the melodies, just come to me. you know, so to me the, this is a nice to read it. the ease is also in great contrast of problems who often tormented himself with his ideas and then tossed the amount of the menu. so you often read that this 3rd movement takes its inspiration from a waltz, from chuckles of us trust by check off ski, interested. so 5th symphony, tchaikovsky, tchaikovsky, the

letter cannot escape soon, but a lot of it might. it came in all of the symphonies. i think you can tell in the 3rd movement that many composers thought escape. i can't write a sketch. so like beethoven, i'll have to do something else. for jack in the 3rd moment, he puts his mark. he does what nobody else can do. but in this one you're right this very much like the is so good. it's so beautiful. and to me, the most and listing singles of georgia is when he's showing those routes right. and those rhythms the 2nd, the 2nd the is so original. i think he was, he was a person with humor kelly. because when you announce something like fun,

oh, sometimes it's like, here comes the king and that the that and then the kink enters the it's a big announcements for a very simple thing. the, there is a book of the memoirs of his son, the son. this explains about how his father was already a famous man and how he said, oh, let's go fishing and they would get to be fishing and then the minute they would be like the like. so we have to go, we have to go, because i have an idea, and i have to get this out. i have to go to the said he would compose and then the next phase, they would try again to go fishing. and the same thing would happen,

and it just happened forever. and he says, i never was able to really physically with my father. because the moment that the an idea came and she couldn't, he couldn't function. you have to get it out. the the, the

that was part one of the symphonic cycle, which conductor alonzo ident, upon a, at the twisting stock. and be sure to join us next week for part to the as a business analyst, i think my country would help make good business decisions. hey, i was wondering when you can talk to say about that intentions of going back home

is a huge shortage off health care professionals to now when i go back, as my fellow young journalist so important and as we empower each other, the 77 percent on dw so punch and has plenty of space. the ford f 150 lightning is a battery, electric horse power monster. we take a look under the rule of this giant b v. ken and live up to us legendary gas howard cousin, the red 60 minutes on the w. 2 or 3 minutes to take a moment. under your mom,

he's not coming back. it's over. the february 2020 russian troops in faded the ukrainian city of coupons. it was recaptured. 6 months later the occupation this hard drive under russian occupation resisted who collaborated. how can life go on after all the terror? not everyone can endure the fear weeks out every day. when rush starts august 25th on dw the hello there, and welcome to another edition of the 77 percent. the chauffeur africa's youth africans who spend time a broad bait for studying or watching can and do give