The World of Music; 22; The Maestro

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welcome to the world of music a morton who when i was very young the very unknown icon of the first performance of a composition michael collin fuel injectors it was the first time that any of my scores have been performed by major symphony orchestra and the conductor and on occasion was where polls the cost that i am not unique in this because countless composers of a risk from every country half hours to cost the ready to champion their works to infuse them with the dynamics they're at the pervades everything he does this last track record of first performances and pioneering achievements and every sphere of music is nothing less than pap test in fact our vets to say that there's hardly a composer around today that has not been helped and inspired by maestro stefanski and so it's a double plus a degree locals to close today

not only an appreciation of his contributions to music generally button great personal friendship and admiration maestro welcome to the world that you may i ask you where we're talking about life for his performances with you and that of my colleagues you have obviously done so many young composers works as this week on to simulate partners this has been oliver not for curiosity know i think it's a part of the twentieth century life is seen in my opinion music is all a time involving into new directions and during the first half an hour in the second half of the twentieth century we have very new ideas and new techniques in music the new techniques are necessary to perform the older or the new ideas and to this is to me fascinating because it's part of life as we live it today

all over the world because when i say all over the world music is obviously international language so i noticed that whenever i could not for example i'm behind the iron curtain so we're conducting but i look over the orchestra and the concert license there and it's all bulgarian soul food is that i don't i don't know what country i mean it's not necessary because music is international in its expression now i'm unaware international from a greater point you would you say though that or would you agree that are a lot like the international technically or has its roots in national relax your id's of course every country has its own folk music it's popular music and that the folk music seems to grow out of the earth's one can scarcely think that anyone composed that music as we compose the day on paper because

it's not paper music it's a real music it's a music of sound it's the music that people say and dance to witness the ceremony in a house or in their village or whatever country where they live and this folk music is extremely important and gives a quality to the music of the country and in america there is a great amount of folk music and the same way it normally countries all of europe in the us particularly in all crying out what i i used to go to conduct the amount of folk music there's amazing it's the same thing in asia and all over africa so the folk music gives the character to the music of each country and his individuality and it has its own charm to pass do you would you say that they know

symphonic composer some funny creative so cool so called serious creator hot takes listeners raw material on and transforms or another that's what makes somebody called let's say an american composer or french composer that's it i mean do you see a very direct relationship between the complex creative act the contest created and the folk and pop elements are a composer and actually expresses what's inside of you in his inner life of the mind and the heart and the soul and it cannot be otherwise the composition is almost like as a self portrait of the composer for example by his music tells us what kind of man he wants it even tells us something about his deep religious strain in the sky and the same thing would be about any composer debussy or shift according to anyone it's a

self portrait in tone and not been paid do you think that there's a distinction between so called contemporary music and music written in the twentieth century or less it thank you you know i'm saying that one again i don't know well and the idea of music of so called contemporary music and music written in the twentieth century i think in a sense why the center now yes i'm thinking that when their contemporary music mozart's music was a contemporary of his time the formality and the beauty of living of his time so really not only is all music a self portrait of a composer but it comes out from the kind of life he lived in at that period and so is contemporary and so now we're in the second half the twentieth century and that music that is being

composed today in june in the twentieth century is an expression all of how to compose a relaxed to life around in the way he is living hall he is impressed by other people or the difficulties and pains he has a normal joystick that it all goes into his expression as all art does not only music but painting sculpture and architecture everything is an expression of time and place and you feel but there are many ways of expressing that moment of what i mean by that my stories we live at a time now when so much i'll call musical creative direction is and is involved where there's an example electronic means we're very what we call for one of the other word for out of approaches woody leave that fire well i i'm using that at the way it's

used generally for me personally i suppose fall far out with me something that is not that is not a foreign and something that isn't so another laser gun that is something that is the way he found common procedures or from the fallout of an unconventional guess awarded to send conventional the word <unk> voters well and now to your question is now and that this thing that we live in a time when so much of our so called intemperate music is involved with this massive they want to go back then unconventional far did you feel that there were grade a point of you know but they're still below the npr that atoll approach in and they are in the world socal orthodox approach what you mean by monday duty that one can be creative i have my own opinion on this summer just to find out with you say because of your spirit of the european for

sinatra in line of wealth is that the conditions were no no conditions that your question my life my feeling is that they're about one can use fantasy fantasy and and and rhapsody and creativity in an economy that where the one uses fish pens or conventional instruments so one can create something years and that at the dose i mean there are many many streets in music to walk and it's quite a large estate creatively for a composer to to explore i was just curious whether it would you agree with the fact that one could write supposedly conservative isn't it still it appeared so yes it has to do with two kinds of course is the composer and the listeners the composer naturally expresses what's inside of him just as you cannot take out of your pocket some thing is not already in your pocket so you're a composer

cannot for any artistic creative cannot they got from his illness or anything is not already in it so he expresses it in our case through music that is what is his contribution to life today but the listeners but they are quite different some of them will respond to his idea of life and music and some will find it meaningless it just depends on how the listener has brought to life his own ideas and particularly his own emotions in response to a life around him now i think following the rumors through one is couldn't comment on

the idea of how grand the music the idea of the composition that has been that now that impossible format so i understand what you mean by random possible what is random music i know my dad is what it not organizing the orthodox sense of the words not not specifically spelled out through notes but giving the former freedom i don't get any threads music is also docks a creative artist of any kind is unorthodox naturally and by random music i presume you mean that the play a soul singers make their music as they feed it doesn't or not enough in a freeway into improv is there was shot backwards or stop the jazz improvisation and a wonderful part of music not one of the greatest improvises was bach and i always

feel that today we have been to a great extent lost the art of improvisation and i hope it will come back and if the random no gentleman and making contact with it i gather employed and this is the development of the performer in the says that he must be more than merely somebody's can copy something or just it acts like i'm ashamed to say i think that who has involved himself latinas be created for us it's on toys away great performances are always yes but when you have two or more person's making music at the same time and they all creative in all different ways it might become pretty complex and that's what happened with the music of ives that his fourth symphony which has recently they've performed has just those qualities many things and many rhythms many common as many melodic lines are sounding at the same time

and are completely individually so i think that ives who in my opinion it was a very great artist or so it was a random criminal sadness on the maestro and a performance of the work that the sole source for some for me i imagine but no one performances of a lot of prisons well that's true of all of the music in my opinion because human beings it in different nodes under a few days and that is one of the charms of music that it always sounds fresh and new ah in the field of electronic music of making musical sound through technological means do you feel like some point the rumpus will actually replace the law a position i no i don't think so but it could be parallel with it they can both exist at the same

time and deb of course all this depends on the reaction of humanity to any formal talks with uncle shakespeare goes on century after century because a lot of people are thrilled by the beauty of his poetry the same thing is is true off the musical block it goes on all our dante the commander of content lives because enough people find it extraordinary imagination if people do not if humanity does not find any form of art interesting it disappears that doesn't say it's not going to orgies and good or bad that they've just disappears because not enough people are interested thought i have a man's face in the judgment in the long run of humanity i believe that men and women and children in the long run realize

what is true and beautiful and art and what is not in other words you feel girls are they're eric their collective sensitivity you cannot be otherwise because it might be that certain persons who think they are superior might tell humanity you should like this you should not like that that are such people or saying that but the men and women take no notice it if they're thrilled by nature or art they'll still bite and nobody can tell them not to be thrilled by it because it's just natural and that is what is great about the future of humanity on this little planet on which we are now sitting it will go on and it won't become fine and greater because enough people are going to make it fine great now my still limits of this planet and being out with some have come down so

quickly things again out you feel lucky on economic reverses economics means for music alive today help or hinder their creative spurt the money to do it whatever and that the quick way to see that is that i had this great american composer was a rich man i'm sure that was a great composer and honestly think composer it does double his life so it means that money and all those vehicles things have nothing to do with it it's what in the soul of the composer or the creative artist anytime as a jurist with it with a particular tell the devil's this has learned to do with the economic status no got my start know what you i'm not first of the furniture we're

talking about conducting because i think you feel something there's technical ascent you cannot talk about you must do which show for support all parts of music that matters ask the one or two very gentle forces that i think we'd all be interested and does your attitude toward an officer puts your technique changed with an officer that you have not conducted before as a guest conductor when a guest conduct for of course it does this because i when i am conducting the orchestra which is for the moment mind like the american symphony orchestra is at this time that the players all know me personally and do it we know certain technical questions which do not have to be explained a toll it's understood whereas if i go to another orchestra very often i

go to a country where i do not speak the language and that kind of makes no difference because the music has its own language but there the technical questions that are different and in every country that quality even of the players is different for example in some countries the prices are wonderful but the strings of poor in the other countries the strings are great and to the press is underscored in other countries the woodwinds or the percussion instruments are extraordinary it depends on the country on the what led to the building up of act in that country and the oak justice and all this has to be taken into account virtually but about conducting i think that we have a great difficulty ahead of us and that is that all over the world today and i travel very much unlike the trouble in different countries i noticed

coming out today for many new or customs some of them are completely professional some are completely amateur and some apartment professional party amateur and the players in those orchestras often extraordinarily great players and in the amato orchestras that poses love the instruments they do some other kind of work during the day but at night they go home and practice that instrument because that is one of the greatest and delights in life but they cannot find good conductors and we're running short of really talented conductors and that is going to be difficult all over the world today and i wish we could see a way to develop the conductors because we have talented conductors but they're not given enough opportunity we must find a way to give them up to the well

you say that we have learned how to conduct business set up dreaming in terms of lobbying for having opera house to conduct an aqua less to work with and help so imagine a young man or one young woman who has time for the panel that person can easily find somewhere a panel to practice on and develop that pot with a violin it's a little more difficult but also can be done but with orcas it's extremely difficult because a major or cost of about hundred players is a very costly instrument and managers those terrible pay for managers they don't want to give an unknown conduct of the opportunity though they say it it really should have no one in the house and which allows money in all of all these kind of arguments so what what can the young conductor do it all over the world this problem and i don't get fined a good solution for when i see clearly the problem

talking of the office to bastrop do you feel that let me let me make a statement i think that the orchestra as we know it is really at an end congress kind of combination of things this ivory with you lived it too much and dr kessler says back in the eighteenth century still example trombones they have not developed world the earliest because i know of cloned phones are in their a b c how many years that is the twenty eight won twenty two twenty four centuries back the trombone still plays with a slide the same way or pacific time but when we do we perform for example a delightful would show william tell of rossini and the storm scene calms and the troubles as pedro de forest they cannot because they cannot pay five because i must

make a space between each note otherwise it's a mere smear or so and unfortunately we have to pay that strong a little slowly to accommodate the trombones if the trombones had been too volatile they're than they could play for us as you wish that is the trombone of the trumpet it's a trumpet wish is to make it to his son built a driving some from one note to another like the trombone to do it is the trumpet cannot do it is the october said i'm very sorry i can't do it but he had a slight he could do it and so it goes on so many of the instruments how far behind the times of the day and courtney made butter and in other words the modern orchestra needs modernizing was this slow are true about in a sense i think that the way back it's a more consistent kind of looping wins and prayers wind brass and strings and that's always the problem i'll sing and waits and also the problem was pitch and if you're for

example in some countries they tune today for forty and others for thirty five but the instrument's don't liked his defense of pitch and if the players are blamed for bad intonation it's not their forte institutes of instruments meister i can't resist asking you foresee on right i'd never resist jumping on trial transcripts and so often so it's you know purists feel and want to not transport one medium to what the puritanical people have a perfect right to their opinion if they'd like to be puritanical and not much fun in life to get to be that way but when it comes down to the transcriptions all of the music of bach the wife of a coal plant but the worst crop of the war was bach himself he made one transcriptions and i haven't made it because he admired so much the tent school of history particularly the bounty maestro everybody talks about the youth of today i think has been

going up with thousands of years of uninsured is about the young generation do you have any thoughts comments on this or that i noticed very much in the newspapers and on the video about the delinquency and of course there are young boys young girls who unfortunately have voted that home conditions and out in the streets and they do terrible things but for leave any one of those there are thousands of wonderful young boys and girls today and i know so many of them in in the american symphony orchestra which i conduct they're mostly young men and young women of immense talent so i believe that these young generation so talented and so full of life and humor they're going to make the life of today all over the world and it's going to be a great life because it will be created by those young boys and those young girls

they're working through the but this is a strong pillars definitely has an occasion is hoping that better living conditions but the foods that travel particularly child with a goat or the countries mostly of georgia's the same as we are this thing that they seem to be involved with what's going on around them and knowledgeable as you so insensitive it has a place in the world to have to work so there's issues of life all over the world tomorrow are going to be even better than today and in many countries ago today but not in all of course we must give so those countries all have poor conditions we must give from luxury mass production what we have much food we should give characters share well

i think it's a very optimistic and humane note through and this discussion it's been really a rewarding experience to visit with you when the history of music in the twentieth century has written some years now the name labels the cost before i caught it on the list of men who helped shape and inspire that history certainly the tanned geniuses in order when we think of this man whose unrelenting energy and dynamic but talent and this thing is the progress and the scots but mastery of the music has made him truly a unique figure in the world is ozone

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