or are you using a lot of fighting social loans, seeking a self determined life. douglas, go escape from drudgery and abuse on d, w, or sports, all of our scoring. we say there about never giving up sports flies every weekend on dw the to great composers for concerts. 8 symphonies, highlights from the homes, talk inputs in 2022 alone. that idea of how to conduct each brom symphony with one by law jack. that is probably one of the most beautiful music ever written from

symphony on the channel is physically and emotionally, very, very challenging, life, joy and did this wrong on song for intensive weeks, of rehearsals, concerts, and conversations. joining us as we followed the creative process of the symphonic cycle, the of be careful with the, with the hearts syntheses and source pets so long the site does not em. let's just

do it more naturally. it's just, it's weird too, thinking too much the i'm share with audio data co principal. second violin of the mentions team clinic that we're in munich. and it's, it's a pleasure to work with you. we're 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 have the 1st and the 2nd melons 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 of the right there and different other would require a different hosting which, which has, is 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 the position and when i started playing sick maryland, i really enjoyed so much and we have really we have the color, we have the pulse, we have to buy 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 clean their pilots bronze. the nose is mixed oil and water color and changes from one to the other. for example, which is night. sounds is to some degree, like really like water color. and then he gets to the really emotion of, of oil. the

spots is always clarity and there's never to indulge them. and i feel that the 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. 8 the as well, i'm gonna say with women's mind to hi lorraine. i love it. why? because it feels you should listen to this 1st learning part is the super romantic theme comes very shortly. the typical brown. this is for me. brandon,

i'm so and then he just explode. oh, i mean we know he was always enough. oh, isn't level. and he couldn't really say it's an update as an incomplete, loving unders, frustration of impossible. it's okay. the she has the 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. now exploding this most the same to me. that sounds great. and also the way your line with the violins pressed by the ins and the view lives just flash . there's so many disciplines is there that it just circling things like you can taste every nodes and feeling that that comes from extreme desperation in pain. and as i say, he just does that and then he kind of gather sense of falcons, like, okay, now as from, from this keeps keeps thinking, you know,

and then this line with a garnet and it's an extra thing into me. you just shift 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, it says account, all you all know playing this is 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, lynch. it's emp, evelyn, is it minor or major? not that that's why when you're listening to it, you have a sense that the composer is searching for something. you can only find what they're looking for in the final movement. the semester so anxious to let stance, that's an for me, the character of the, of, of the 1st moment is, is this struggle, this, this, this trying to get out know to them that the, 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 fest so smart on them is still installing because on 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. the even requested the image is this feler despite the stuff dot a uh the that i just let it be. and then the height is really sweet. to any single. so i'm here with jamie white, the principal, the soonest of the mentions symphonica. and it's so great to work with you. thank you. likewise. i think his, his use of the bassoon is very particular. now, often he's a, he's making you being part of the singing 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 epic symphonic, silent and silent worlds. and i'm being something much more intimate. real chamber music like a serenade, something much more and internal and i'm from the child. and so the service and the i love that by playing bounces, 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 month and 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 deans of some asymptotes. and 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 solar 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 so 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 me so, so then he says, well, then 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 the and he was always saying, my music is up so no, it's about nothing to find it really funny because it is like i yeah, sure. sure. your home is your life is all and it's everything you live, this is so clearly that is just to 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 forces 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 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 to ask if you would meet from i don't know if it's 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 who, of course, would give you a hug back with. laugh. would be excited to see, you know, i'm, i'm, 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 is so beautiful. it's so beautiful. and i think he's always trying to fit into the central european tradition expectation. i hear that in the music all the time. this both worlds, the are these opposing forces in terms of the ideas and teams and assigned to minutes. and it's amazing to see the tea 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 spring. the i love the fact that this, since i'm 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 the ship. 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 knit children's song or a bird called labels. there's a very strong association with nature and 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 the central european music is. and what's his real upbringing is the word 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 or less or thing. and actually was brown . so it says, this is a talent, is it that i'm 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 hear that in the music all the time is both with the photos of the and i didn't need another words right to the needed needed this. the spice of difference. the sounds a bit like um like uh, music books like up up like a doors. mm. hm, so what do you have?

it says an arabic does it remind you of particular music that you feel it's where it's coming from? i'm from albania, and i started to mean i did stage 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 versa the, there's a lot in someone between the eastern european and the left in america with this 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, 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 one, 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 i like the major minor. so typical east european i think to talk about that.

yeah. the 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 that place is a yes. like to face the weight of life no more displays the thank you trump, it's marble and see is that that that, that, that, that you have them but 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 to me how

the, the, the 8th it has such a spree and brilliancy on the grounds. the what do you think are the influences in musical for i've 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 brahms, who often tormented himself with his ideas and then tossed them out.

the least of you often read that this 3rd movement takes its inspiration from a waltz, from chuckles i boss trust by check off ski interested. so 5th symphony, tchaikovsky, tchaikovsky, the cannot escape. so, but a lot of it might have 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 beautiful. it's so beautiful. and to me, the most in 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 theme. 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 the 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, it 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 say she was my father. because the moment that the an idea came in, 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 socket. be sure to join us next week for part to

the stop for more little bangladesh to go fishing because repeating the guessing pushed

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