If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.
From Kurt Masur
I wouldn't say I've changed my mind. I changed some of my natural habits, some of my natural character.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
I was different from most young conductors today.
I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
I believe so, but at first he must know. He must know in which spirit Beethoven has composed this piece. He must try to study that. And he must find out in which station of life of Beethoven he did.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
Even my family laughed at me because they thought this young guy who's always stuttering in front of other people should be in front of 100 musicians and talk to them and leading them.
Even I had no opportunity to conduct very many concerts after World War II.
At the age of 16, something happened with my finger and the doctor told me, you never can be a organist or pianist, so think about what you do with music.
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