Veteran conductor feeling fit as a fiddle
By Zhang Qian |
April 6, 2012, Friday
|
Print Edition
Print Edition
LORIN Maazel, the 82-year-old American conductor, who grew up in Pittsburgh, Pennsylvania, is best-known for his work with hundreds of symphony orchestras throughout a long, illustrious career.
Maazel's musical career began as a child prodigy who took his first conducting lesson with violinist, composer and conductor Vladimir Bakaleinikov when aged seven and made his debut at eight.
He has held major posts at orchestras and opera houses around the world. When Maazel was appointed to the New York Philharmonic in 2002, it was 60 years after he had made his debut with them - conducting more than 150 orchestras in some 5,000 performances and producing more than 300 recordings along the way. This year, he takes up an appointment to conduct the Munich Philharmonic Orchestra.
On Tuesday, Maazel appeared at the Shanghai Oriental Art Center with the London-based Philharmonia Orchestra - a partnership going back 50 years, and which recently saw them make a recording of works by Mahler. At the Shanghai concert, Maazel and young Chinese violinist Chen Jiafeng worked together for the first time.
Maazel talked with Shanghai Daily before the performance and shared his views on musicians, composers, his schedule - and his energy levels.
Q: You have worked with many different orchestras. Tell me about your relationship with the Philharmonia Orchestra.
A: I have cooperated with the Philharmonia Orchestra for about 50 years, which makes our cooperation more efficient and natural. We don't need language to communicate - eye contact or body language will do. There is a lot of preparation work for the conductor and orchestra before a performance, so our long-time relationship can help save us a lot of time.
It's especially important for tours. We all suffer from the time difference and fatigue, so the more efficient preparations are, the better we perform.
Q: How do you like working with young musicians?
A: Well, working with a soloist who I have never worked with before is always a challenge. Obviously, as an old musician, I try to make the younger musician feel as comfortable as possible, so that he or she can do his or her best in the performance.
I like working with young musicians, because they bring enthusiasm and earnestness, which I find refreshing.
So when I work with them, what I basically say is: Be at ease. Do your best and I will appreciate your efforts.
Q: You have just recently completed a recording with the Philharmonia Orchestra of Mahler's work. Is Mahler a very special composer to you?
A: Mahler has gradually become an important source of inspiration for me. When I was young, I found it difficult to identify with his music.
As a young musician I could not understand Mahler as a visionary who manage to infuse philosophic concepts in his music.
The best part of music is that every performance is a new experience. Mahler's music opens new doors rather than closing them. I never feel bored or fatigued when playing it.
Q: In 2008, you gave a performance in China and some reviews said you were not in the best of health. How are you feeling this time round? As conducting is physically demanding, does your age bother you for performances?
A: The truth is that in 2008 I was much too young, but now I am an older and more mature person! Actually, I don't think I face problems of decreasing energy. On the contrary, sometimes, I find myself with too much energy. Sometimes, I feel sorry for the musicians of the orchestra, because I impose this excess energy on them and push them to their limits. I apologize for that. I hope it is worth it.
If someday I feel that I can no longer offer the best music, I will retire.
Q: What are your future plans?
A: I will be back in China quite often over the next few years - hopefully not too often to bore audiences.
I feel that much of the future of classical music is in China because of the enthusiasm of young people. Many students learn at least one instrument and lots of pregnant women play classic music to their unborn child.
I think it's astonishing that all these things are happening in the country and I feel very honored to be asked to be part of it, even if a very small part.
Maazel's musical career began as a child prodigy who took his first conducting lesson with violinist, composer and conductor Vladimir Bakaleinikov when aged seven and made his debut at eight.
He has held major posts at orchestras and opera houses around the world. When Maazel was appointed to the New York Philharmonic in 2002, it was 60 years after he had made his debut with them - conducting more than 150 orchestras in some 5,000 performances and producing more than 300 recordings along the way. This year, he takes up an appointment to conduct the Munich Philharmonic Orchestra.
On Tuesday, Maazel appeared at the Shanghai Oriental Art Center with the London-based Philharmonia Orchestra - a partnership going back 50 years, and which recently saw them make a recording of works by Mahler. At the Shanghai concert, Maazel and young Chinese violinist Chen Jiafeng worked together for the first time.
Maazel talked with Shanghai Daily before the performance and shared his views on musicians, composers, his schedule - and his energy levels.
Q: You have worked with many different orchestras. Tell me about your relationship with the Philharmonia Orchestra.
A: I have cooperated with the Philharmonia Orchestra for about 50 years, which makes our cooperation more efficient and natural. We don't need language to communicate - eye contact or body language will do. There is a lot of preparation work for the conductor and orchestra before a performance, so our long-time relationship can help save us a lot of time.
It's especially important for tours. We all suffer from the time difference and fatigue, so the more efficient preparations are, the better we perform.
Q: How do you like working with young musicians?
A: Well, working with a soloist who I have never worked with before is always a challenge. Obviously, as an old musician, I try to make the younger musician feel as comfortable as possible, so that he or she can do his or her best in the performance.
I like working with young musicians, because they bring enthusiasm and earnestness, which I find refreshing.
So when I work with them, what I basically say is: Be at ease. Do your best and I will appreciate your efforts.
Q: You have just recently completed a recording with the Philharmonia Orchestra of Mahler's work. Is Mahler a very special composer to you?
A: Mahler has gradually become an important source of inspiration for me. When I was young, I found it difficult to identify with his music.
As a young musician I could not understand Mahler as a visionary who manage to infuse philosophic concepts in his music.
The best part of music is that every performance is a new experience. Mahler's music opens new doors rather than closing them. I never feel bored or fatigued when playing it.
Q: In 2008, you gave a performance in China and some reviews said you were not in the best of health. How are you feeling this time round? As conducting is physically demanding, does your age bother you for performances?
A: The truth is that in 2008 I was much too young, but now I am an older and more mature person! Actually, I don't think I face problems of decreasing energy. On the contrary, sometimes, I find myself with too much energy. Sometimes, I feel sorry for the musicians of the orchestra, because I impose this excess energy on them and push them to their limits. I apologize for that. I hope it is worth it.
If someday I feel that I can no longer offer the best music, I will retire.
Q: What are your future plans?
A: I will be back in China quite often over the next few years - hopefully not too often to bore audiences.
I feel that much of the future of classical music is in China because of the enthusiasm of young people. Many students learn at least one instrument and lots of pregnant women play classic music to their unborn child.
I think it's astonishing that all these things are happening in the country and I feel very honored to be asked to be part of it, even if a very small part.
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