for harmonic -- the berlin philharmonic, simon rattle -- he specifically asked me, i sawid this production, would you do this with us? that iss a piece written in berlin, 1980's. it's in reaction to the heavy metal rock group that has lots instruments, stations all around the room where musicians have to process and play instruments found from junkyards. it is super cutting edge. to do that anywhere is pretty radical. charlie: simon rattle wanted you to do that at the berlin philharmonic? alan: he wanted to do pieces that celebrate space, the space in which music is made. i said, i will do it, but you have to promise the musicians, the entire stage crew, the publicity department -- everybody has to buy into this. this is something either you are in or you are out. it won't work as a halfway project. how can you promise him that without knowing his musicians? alan: i do know his musicians. that's why in a place like berlin it was possible to do that. piecesd me about other that he just announced he is doing. i'm hoping it's not a coincidence. there are other people who are

not at the new york philharmonic, but in the world at large, it's an unusual project. but it orchestra like the berlinmonic where i have a long relationship, simon rattle -- he specifically asked me, i saw you did this production, would you do this with us? and it is a piece that is gnarly from the 1980's, written in berlin. it's a reaction to the heavy metal rock group that has lots of loud instruments, stations all around the room where musicians have to process and play instruments found from junkyards. it is super cutting edge. to do that anywhere is pretty radical. charlie: simon rattle wanted you to do that at the berlin philharmonic? alan: they were celebrating the anniversary of the hall. he wanted to do pieces that celebrate space, the space in which music is made. i said, i will do it, but you have to promise me that not only the musicians, the entire stage crew, the publicity department -- everybody has to buy into this because this is something either you are in or you are out. it won't work as a halfway project. charlie: how can you promise him that without knowing his musicians? alan: i

he's won accolades for his performances with the berlin philharmonic and other leading orchestras. the 80-year-old conductor has been nominated for a grammy multiple times. this is his first time winning. >>> the foreign ministers of japan and russia laying the groundwork for a summit between their countries' leaders. their meeting in april is expected to advance peace treaty negotiations over territorial disputes. >> translator: when foreign minister lavrov visits japan, i want to discuss peace treaty negotiations, including the northern territories and other bilateral issues. >> the two countries haven't concluded a peace treaty since the end of world war ii, because of four russian-held islands which japan claims. leaders in tokyo maintain the islands are an inherent part of japan's territory illegally occupied after the war. >>> taiwanese authorities are confronting a new problem caused by the earthquake in the southern city. they're dealing with sinking buildings caused by liquefying soil. the earthquake on february 6th killed 116 people, including more than 30 children. local

not at the new york philharmonic but in the world at large. it's an unusual project. but like the berlinharmonc where i have a long relationship, a friend of mine specifically asked me do you know i saw you do this one production. would you do that with us. croft is a piece that is very, it's gnarlly, written in berlin. >>bz rose: 1980's. >> 198 0's. it's a reaction to the heavy metal rock group. it has lots of loud music, people have to go around the room and lay from descrawments found in junk yards. it's super cutting edge. to do that anywhere is pretty radical. >> rose: they wanted you to do it. >> they were celebrating the anniversary of the hall so he wanted to do pieces that celebrate space. the space in which music is made. i said i'll do it but you have to promise me that not only the musician but the intair stage crew, the publicity department, everybody has to buy into this because this is something that either you're in or you're out. it won't work if it's a halfway project. so i actually, that was very -- >> rose: how can you promise without knowing the musicians. >> well i