Zinman and Aspen reflection...

Having now been back from Aspen for a month, the three months I spent there are starting to merge into a slightly more amorphous collection of memories, ideas and thoughts. One thing is for certain Aspen is a very special place. It certainly developed how I think about music and conducting and I might even go as far as saying that to a certain extent it changed how I think about music. While I have been in the NYO and read about orchestras such as Barenboim’s West Eastern Divan orchestra, I had never truly felt that the music experience could be truly unifying. I had hoped, but not felt, and this is not to say that I didn’t wholeheartedly believe that music is the greatest form of worldwide communication (not that I am biased at all of course). Partly as a sceptic of most things and also as someone who must ‘see’ to believe, in most cases, I had not experienced music bringing so many people together. I am not being specifically clear in what I am saying, maybe because I am still not completely sure what I experienced. It wasn’t just the musicians on stage, or the 700 musicians at the festival - it was also the conductors, managers, technicians, librarians and most importantly the audience and the local community. From the bus drivers to the shop owners, to the local residents and waiters, I felt not only that everyone was immensely proud of what a small (albeit exceptionally rich!) town was available to achieve, but also that it brought everyone closer together and all seemed to benefit from it. I am rambling but never mind. It was powerful and good.

Hearing Zinman at the proms when I came back with his own group, the Zurich Tonhalle, was really special. You don’t go to a Zinman concert to for bravado and swashbuckling fireworks. What is produced is perfection of a different kind, something that I think is rare in the musical world. Balance is perfect, and the sound is embracing. It does not make your heart beat heavily against the wall of your rib cage, but it really does make it race. You come away from the concert not high on adrenaline, but as if you have been given a great big hug. It is satisfying in a very different manner.

I think it is this type of satisfaction that needs to be thought about more in today’s age. As a musician, it is fantastic to see the likes of Dudamel and Petrenko firing up our orchestras. But while quick fix exhilaration may stay with you for a week or two, somehow I find the satisfaction that the Zinman prom, while not immediately as satisfying and enlivening stays with you for longer. There is definitely room for both and more, but it is a satisfaction that is not valued maybe as much as is it should be. Maybe I have this perspective as I find the fire easier to conjure than the wisdom!

F

Things to come....

Ok - so still no Messiaen but that is coming, I might have to link it to a preview sight as my initial piece about Messiaen's early orchestral works is pretty long....but am working on another Messiaen article at the moment concerned with his teaching style and influence!

Also nothing about photos - but have had quite a few done recently for various things - John Batten at www.johnbattenphotography.co.uk is fantastic, I couldn't recommend him highly enough!

Have recently done an interview with Shropshire Life so in the next issue between sheep and cows there will be a bit about music!

Will write more about up and coming projects v soon!!

Ferg

Boulez and Luzern

In March last year I was invited to study conducting (along with 3 others) under Pierre Boulez at the Luzern festival for a week in August.

Boulez, is without doubt a phenomenal individual. Much of what the Luzern festival is, especially the Luzern Festival Academy, is because of him. There a few musicians of the 20th Century that one could call 'genius' but Boulez must number amongst them (as possibly does his teacher, Messiaen). Whether you appreciate his compositions or not is not the factor which I feel makes Boulez great (as an aside, if you dont 'like' Boulez then try listening to his Rituel in memoriam Bruno Maderna: 1974-75). It is his persona and understanding which makes him iconic. He was seen as a revolutionary in Paris when he was young, but he made the world stand up and listen and as result IRCAM and EIC now exist and new music is what it is today because of him. You only had to be in the hall at Luzern to see his effect, when he entered, on the 100 strong orchestra, fresh from the conservatoires of the world, to see that he will be loved by the generations of today and tomorrow, once he is gone.

His teaching has a very 'fatherly' approach. When he criticised what we did, which was most of the time, he always did it with a smile on his face. It was certainly constructive, yet after the first session with him, when he stopped you, you knew what he was going to say, yet he always found a different way of expressing it. He may have been seen as brash and big headed when he was younger, but now, in his teaching role at Luzern, it is as if he sees his one duty to the world is to shape and enthuse the musicians of the future about new music. He has criticised the past, moulded the present and now he has turned to the future to resolve the problem of new music education of the young.

It's true to say that he has a pretty easy audience, all the orchestra and conductors have applied to this course, and been selected from many, to work with Boulez and the EIC coaches on a heavily 20th Century programme. Boulez, has a conducting style that is small. It is not restrained. He feels the orchestra gives what it gives, it is his duty to correct and ensure that the orchestra plays as one. He is certainly no Dudamel in his actions, yet the quantity of energy that comes from the podium is easily as much. He stands there. Every movement his body makes is as concentrated and distilled as it could be, and so each movement delivers its maximum effect. He has the benefit of 80 years of experience but when he is on the podium he ensures that it is the composer who is central to the work.

It was certainly a life changing experience, mainly because of Boulez, but also from the insight of the analysis sessions with Theo Hirsbrunner, and the setting of the academy and the nature of the festival itself. However what was so beneficial was the group of conductors working on the Rite of Spring, Symphonies of Wind instruments and Concertino. Eva Fyodor, Pablo Herras Casado, Geoffery Patterson and myself were able to discuss openly our styles of conducting and the problems we saw with the conducting styles of our fellow participants, as well as offering maximum support to each other all the time.

One should always only speak as they find, a motto I think more of the music world could do well to adopt, and for me Boulez is a confident yet supportive, generous and understanding master of what he does.

www.lucernefestival.ch