A Maestro with a View

Far back in the early 1980, as - being a young student - I was eagerly following music articles on conductors. At that time, a young Italian maestro, being labelled as a promising "prodigy" (still), appeared in some of the magazines. I still remember pictures, of a dark-haired, slim, youngish looking conductor. Television in Europe in those days was not as varied as it is today, and therefore my only knowledge of this young man was only from these articles and of his picture on certain yellow labeled vinyl records.

Only by the time, shortly after Herbert von Karajan had died, and the Berlin Philharmonic orchestra chose unexpectedly an Italian to succeed as the next chief, he became a bit more "visible". The rest is history.

Now, Claudio Abbado, in my view, the very best conductor around, has celebrated his 75th birthday. Despite (or perhaps because of) his leaving the Berliner - one reads about the growing differences between the orchestra and Abbado, yet the Berliner Philharmonic has gained so much from Claudio Abbado after the sterile megalomaniac era of von Karajan. I know from own experience, that a positive success is not always going hand in hand with a lasting co-operation, and ensembles realise too late, what opportunities they have lost by parting. The Berliner has become a more artistically aesthetic group than ever before, Abbado acting differently than his autocratic predecessor. Nevertheless... Also his health has perhaps contributed to becoming a very intellectual conductor, where music is the ultimate centre of the performance and not seeking self-fulfillment like many other conductors tend to do. These factors have made him a Maestro with a big capital M.

If I follow Claudio Abbado's path from his older Mahler recordings to the recent Lucerne Festival performances, the heights which he achieves with the Lucerne Orchestra are astonishing, almost giving me goose-bumps and seeing him conducting is the ultimate reflection on Mahler's message through his music. It manifests true understanding of music, not as a serie of black dots on a piece of paper, but searching the soul of piece. A view, and as it is not only in the case of Mahler, a philosophical view. Even for a Beethoven, Schubert, ... you name it.

Dear Claudio, wishing you still many years in good health, happiness and continuation of your musical success, from which we can learn a lot. Congratulazioni!

regards
MS

Breaking the deafening silence (II)

With reference to my earlier published title (posted on 17 April), I need to make a slight correction, perhaps to clarify the title a bit more. Therefore a kind of "part two". Slightly after I have posted the first blog-entry, I was informed by Peter Breiner, a Slovak composer, conductor, pianist and publicist, living currently in New York, that the clear and critical statement on the Symphony Orchestra of the Slovak Radio (SOSR) by Maestro Peter Feranec was not the only and first critical voice statement.

Dear Peter Breiner, you are absolutely right, and I owe you an apology for that omission. The reason why I (on purpose) labelled my entry as I did, was not so much that apparently nobody has ever published abou it, rather than every time I inquire on SOSR matters, there's suddenly no response, as if my questions regarding the orchestra are being absorbed by a mysterious black hole.

True is, that your articles, as published in the Slovak classical music periodical Hudobný život [Music Life] or any other media, I have not been able to get hold to. (Some articles you find even after 8 years on the web, some other vanish very fast... ). yes, I have read a few references to your articles, yet nobody could provide me copies. Until.... I coincidentally found an old issue of Hudobný život, and lo and behold: an article "From the other world", where you state the same concerns regarding the SOSR.

In order not to forget, I decided to immediately write a correction and explanation to you. Since I jumped into these problematics a bit later than the publication date of yoru article, it somehow missed me. Unfortunately, to find out, that both we hold the same (alarming) view on the orchestra. But when thinking of it, comes to me another question: why the secrecy around us, why does hardly anyone sincerely wants to listen and to act adequately? Perhaps, I have a clue though, which I don't want to say aloud. To quote a famous conductor: it's not good to be superstitious,because it brings bad luck. Your statement (sub-title) that "even Rome lost from the barbarians", is a gloomy prospect. But what you wrote then, and what I see now, almost seems to confirm this expectation. Time will tell, how much the Slovak nation values and perhaps even deserves its culture.

regards
MS

The time is ripe

Discussing issues with people is a way of exchanging views, not just telling your point of view, but also to gain perhaps an unexpected new idea because of your discussion-partner's response, which could help you to adjust or improve your own strategy or effectiveness on the market. If art and culture were not so much forced into a corner, this discussion would not be as lengthy as it is now. So any innovative idea or experience to strengthen or (re-)affirm your work is always welcome. You must once in a while reposition your reference points. to be sure of your position. This time it came from an unexpected corner.

A friend of mine sent me a link to an Czech newspaper article. At first glance, not an unusual thing. It was a letter by the playwright and former president of the Czech Republic Václav Havel. Next to being a playwright Havel is in fact a philosopher, who has often outspoken (critical) opinions on society as a whole. Therefore, still regularly being quoted in the media. What was most pleasant to see, was that this published letter dealt with ... culture and society.

I will not burden you with all the details, as he compares certain trends with his Czechoslovak experience back in the 1960s (when culture was defined by a centralised communist government and an underground dissident movement). What I would like to highlight is the introduction, which immediately catches your attention, at least worth pondering about, which indeed capture the essence of the discussion about culture.

The introduction describes the "battle for survival of (Prague's) theatres, not being a mere battle for millions (funding from the state). It's more. It is a battle about the sense and the character of the nation".

It continues with a summing up of activities, which the state - as a representative of the people - chooses to allocate tax payers' money for purposes, that are not always making sense, nor have a logical well thought through long-term strategic purpose. In the best scenario, government should consider future ramifications of its policy, in other words feel responsible for decisions taken now and how our grand-children could benefit from it as well. A parent, who is in charge of an household, in financial difficult times, is expected to give priority to feed his children first, before thinking of buying himself a stereo-set or another new car. Nowadays governments behave the opposite ways: instead of ensuring that society is prospering with good infra-structure, economic incentives, and even to provide the comfort of access to good health service, education system and culture, it cuts where it can.

We will inevitably suffer as a community - and the loss of culture is, in my view, heavily underestimated by society. The damage faced will take much pain and extra effort to crawl out of that pit. We complain about high pace of life, burnouts, stress, psychological disorders, yet we let ourselves be fully controlled by these trends.
Wasn't it remarkable, that people once used to dress up and take time to go to concerts or operas. A kind of ritual to step out of daily life and let art give you time to relax, to contemplate, and have an enjoyable time.

Those times are really gone? Why? Blaming the "State" for not having the money anylonger, is not quite right. Remember that it was the people, the society who has instituted dedicated authority (municipal, regional, national or supra-national). These authorities (State) should realise, they should serve the people. The people (society) has the right to call the State to give account for their decisions.

Some governments (at least, the decent one's) inform public already about their well-being: change your habit to smoking / eating; it can have negative lasting effects on your health or segregated your waste; it's better for the environment.... When will governments finally realise also the true value of arts and culture; the traditions, the national identity? (of course, without becoming nationalist or xenophobe). Today, its' only about profit, political nepotist interests, and grab what you can. And if people are not content? Both governments but especially societies as well behave as if both live in completely separate worlds. You have shared responsibilities towards each other. Turning away because of disillusioned disinterested will not make a change. Do something! Take responsibility! The time is ripe to start realising this.

regards
MS

Early Music Festival in Bratislava

Just to let you know, that currently Bratislava is happy to enjoy the Days of Early Music festival. An annual tradition, which started in 1996 at the initiative of the late Ján Albrecht, to whom I have dedicated an article earlier on this blog already.

A 13 year tradition, which is being kept alive thanks to the endless efforts of e.g. artistic director Peter Zajíček or Mrs Dr. Alžbeta Rajterová, performing not just standard baroque or classicist works, but indeed very rarely performed pieces by Benda, Zimmermann, Haydn, Pleyel, Mozart, Stamitz, Voříšek, compositions which one would not find easily in a regular CD store. Famous names and ensembles like - needless to say - Musica Aeterna with Peter Zajíček, the Lotz Trio, Festival Orchestra Apollo, Visegrad Baroque Orchestra under the baton of Jos van Immerseel, and still others like Hjordis Thébault, Pierre-Yves Pruvot, Peter Guľas, Barbara Willi, Christian Leiterer, and many more.

Definitely worth going, if you are a music lover. Several institutions have lend their logos and contributed. Just curious, how many representatives these institutions will send (or of course come out of their own free will) and what the response will be from the public.

For more info: www.earlymusicba.org

regards
MS