the culture information, this is the the news w mines. we've got some hot tips for your bucket list. magic corner check hot spot for food and some great cultural memorials to w travel off we go the to 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 lof joy and it's this

wrong song for intensive weeks of rehearsals, concert and conversations join us as we followed the creative process of the symphonic cycle. the bumps, be careful with the, with the hearts seem to be some source that's too long. the site that 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 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 mullins on the same side on my left as a group. and this time we have the 1st right into my left on the seconds on the right there and different other would require additional switching which, which has some challenges, all sorts of benefits. i think for this to symphonies, it's 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 2nd maryland, i really enjoyed so much that we have really we have the color, we have the pulse, we have 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 war jacks. he 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 of the grades like really like water color. and then he gets to the real emotion of, of oil. the,

the spot is always clarity and there's never to indulge some. 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 cannot lose any moments the favorite moments mind to. hi, lorraine. i love it. why? because you should listen to this 1st barn and bart, this the super romantic theme comes very shortly. the typical brown this is for me brown to not show 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 is an incomplete, loving unders, frustration of impossible. it's okay. the she has this da da da da da da da da da da. as a 4th, 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 seemed 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 seems like you can taste every nodes and feeling that that comes from extreme desperation in pain. and as i say, she does the southern and she kind of gather sins of bar codes like, okay, now this is, this keeps thinking, you know, and then this line with

a garnet, it's subjective thing into me. he just shifts. and i 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 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? that's why when you're listening to it, you have a sense that the composer is searching for something. so 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. notice 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 festal spot on them is still installing because i'm at least finished. it doesn't really flow. oh, it keeps coming to a stand still and has to find a way to flow again to be brought into motion the even the make. is this a feeling despite the stuff that a lot of you that i just let it be? and then the times really sweet to any single. so i'm here with jamie white, the principal of as soon as of the mention symphonica. and it's so great to work with you take care of. 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 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 to last the surf epic symphonic sound and silent worlds. and i'm being something much more intimate real chamber music like a serenade. something much more and internal and, and frank child and so the service and the i love at the same problems as 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 marine sex. and now

the thing is, is gorgeous. always very sensitive and 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

deeds of some asymptotes. and in contrast to the 1st movement to you, 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 brahms 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 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 move the and he was always saying, my music is up so no, it's about nothing to find that really funny because it is like i yeah, sure. sure your home is, your life is all. it is, 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 how are you are i must say. and what you're talking about is made is 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 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 through the music, read as much as i can, and listen to no recordings, nothing i've haven't really listen to anybody. so i'm just really trying to see what bus telling me i would love to meet you like, what is your love and it would be great as if you would meet from i don't know what to is 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 see the music, this is really something he wrote. and he said, there's not any. this is nothing anybody set of documents. what 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 do 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 in sudden sentiments. and it's amazing to see the, let's see 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 then it's about landscape shining moments. beautiful. i'm free. it's full of spring. i love the fact that this sense to me has been so kind of together with the problem since 1st because i think it offers more more lightness and more conviviality the country to a lot of the symphonies of the time that were to do with tragedy. in faith and, and struggles of logic sites is,

is the happy happy pete the let's just say, does it say 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 i couldn't, i couldn't, 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 of the birds. and then suddenly the dark sound of the look here it is the i feel it's exactly the opposite of what central european music is. and what he's really upbringing is words that cause the son of a butcher. he really wanted to, to make it to be respected in vienna. and by this, a stablish meant as a check composer, which was he was always sitting like less or thing. and actually was brown. so it says this is a talent, is it that it's taking seriously and it was supposed to be played at the vienna philharmonic and then suddenly he didn't hear back. no, no calls back on the front of the musician said no the so what he was

going to was was very serious. i see is up in the music all the time is full for the most of the and i didn't need another ones, right. the, the needed needed this, the spice of difference. the sounds a bit like um like, uh, music books like stop up like a door. mm hm. so when you have it says

an arabic this it reminds you of particular music that you feel it'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 moved 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 cruise gestures. i think absolute, the whole eastern european music and opinion on southern europe as well. course you can here is 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 america with it as we come from down

the, you know, everything is beautiful. it's like a sunset. it's like people find a really likes thing happened as 7 the there's also don't forget that 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 one, you see the eyes of, oh, an eastern european woman or something that's rocks. and that's the, it's always within like it. next the whole there was always pain. there was always, don't forget which i like the major minor you know, so typical east european i think that stuff to talk about that. yeah. the hi john bob. bob. um find out. i think this is so strategy for it. looks like in the middle

of such a beautiful the, the places he has like the fates, the weight of life, no more just price. the 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 music of 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 if you can, and also to the advice 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 to see you often read that this 3rd movement takes its inspiration from a waltz, from chuckles of us treated by check off ski instance so 5th symphony, tchaikovsky, tchaikovsky, the, cannot escape so, 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 inter things single towards that because 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 purely 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 and they would get to be fishing and then the minute they would be like that, 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 and 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 fish it with my father because the moments that the an idea came and she couldn't, couldn't function,

you have to get it out. the the that was part one of the symphonic cycle, which conductor alonzo ident, upon at the twisting stock. and be sure to join us next week for part to

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