A conversation with...; Istvan Kertesz, part two
Now resuming the conversation with Mr. Braun character as near as Aaron Parsons. You have little mini recordings of the London Symphony as well as other orchestras and do your own making recordings do you have a special recording session or do you do some of these during the regular concert not for the nodal in their homes but you know of course that many times you have been to a concert for aquatic station or you were quoting the session and after that concert it ran only one thing more and more have more impact on the record with the orchestra and none of them kinks really harkens way. Yes not in the you know the hall in which you know I was I don't know but you know it's really important to say that larger electrons from the City of London decided to build a new concert hall in the
city of London which is just a park. In other in in the south including Chicago Loop Yes and he said this If you have learned them and they would have a concert hall and they chosen the London Symphony Orchestra as one of these if it will be right there on the scene from will have his own home in London which will be the first time in the history of thing this movie is the new Philharmonia active now. Yes in concert tears and of course the London Philharmonic. Yes. Has lead a Royal Philharmonic disappeared from the sea also locking the yard and they're telling that much how frequently in London do some of the outlying orchestras come in for performances and live in the
big city and you'll have some experience with a live report of them too. Yes I was once in Liverpool as well. This was before this before Loudon station is on sentry. Yes I can tell you the exact numbers of concerts but I think going to greater outside this does come one or two times to London in the brewer this August following the regular concerts in London. There's a great choral tradition do you combine choral works with your symphony concerts. Yeah there are so of course that's somewhat like Chicago hurtled its own Chicago Symphony Chorus and you have a separate choral conductor.
No not with the postmaster who'll teach them and then the conductor who is preparing the last real for us is this year's New Year's resolutions. Blood is in the hands of the cause master which is one sort of cause most of the simpler. Mr. Saul or is this chorus. Type of organization we're told is where the budget that want to hurt. I'm Terry Gross and this and just in the money and suppose looks somewhat like the chorus here is one desirable thing to become a member of this chorus. How large is this thing with the moment I'm 50 Look we want to marry for 300. From coming season. What type of work to do
next year to do there. Randi today I am. That sounds from darkness from quote I know how to get in groups and I'm curious with an English word. Yes Men want money. Just recently on duty here is whether you have learned in your life the guys from coming see as they do again in October and out to the mountains and the whole heartedly are less corrupt than they are on record. Yes also and I'm getting a part of course. We're going to do it I'd love Latika mass by magic but this will be an English deal please. From battling the money I was the main deal is that the word. What arrogance to confiscate my sister guzzling comes in that
conducts that could be as nice as if he jams with a big chorus call it a lot. I'll find Dr Chin my start at the end of the opera and this is always opposed to me in German which I will go to the Rose is going to conduct to learn your message of love dearly as he loved doing more and more of conducting in Europe. Yes yes he works for very much. Word is that does that mean that he has composed Unless you must you must ask him live and another man will make a point. Moment let's return to the subject of recording which Parsons brought up a moment ago. Of course everyone is very excited about your recently released in this country complete sort of the one shot is all mine along with numerous other orchestral pieces.
How long did it take to do this series. I assume it was done intermittently and as much as we had some released and then more recently we've had you know not here two in a few years. And in recording what to what technique do you prefer. Do you like to attempt to do an entire movement. It's possible yes possibly yes. Yes you know I'm not going to do it. Record it or I call it the architecture recordings. So a whole architecture can come out and the U.S. knows more the architecture of a movement the development is necessary but also recapitulation you know I LA in my music and that my music and architecture and logical thinking. I notice in your handling of the doors are simple is that
if I'm not mistaken you observe all reputed employees it was yes this was where I was in our idea that if you don't want a postcard when the history is to record a complete loss or simply one conductor one artist or one they have to do all the old to the will to the composer and told the audience to bring them peace as as the as proved in this long as a as the composer wanted it and I am absolutely rooster. Plus our role is not only because it was a habit but he wanted to heal it. It was something he wanted us to search for. Then this has the same chance came out in the ground something that in its own little Pyrmont do it before. But it is so important. So I knew most of these people by I was so
stunned by that that I think the audience had the previous true knowledge. You observe these repeats in all the classical works the rewards mostly are not in a concert in the US you know I don't think the concerts are a different type of music from home. But in what sense. Well I'm going to meet your boss and good to them. What are you going to let nervously at the exit wounds a little warm. And they're the problem. Problem building in relation to the Quran. Me too because if you repeat the exposition you'll simply have to reduce the tolls will increase the total length of your program. Yes that's almost what I heard. Which presents problems I'm building. Yes yes Mr Curtis I'd be very interested in knowing how you apportion your time because it's obvious that you're
one of the busiest inductors in the world with your work with your opera call on the Symphony in London and with numerous guest appearances. You have said that in your home and in your student days you have almost no opportunity to become acquainted with modern works. Do you do a great deal of school reading in the moments which are available to you. Yes of course. Yes my mother answers quarterly earnings from all the other saw pieces down again and again I have to see from the other side that that grows as I have that it be from my students years on and that's until now. The lark which is really prepared
Meditation is the longest night has been no not yet. It's a familiar school years and re-orienting really not it about. Think about it I'm overthinking everything. And this is the route. Well I think this gets more and more and the actual coming at it is this crowd is not more big. Are you interested in the recordings of other conductors. Yes because the floor quarter piece of an idol was said which has never been recorded before. I hear the word of warning or two or carvings mostly by blood because I come from the Latin around and try to do my own music not someone
like him but the world with the warm right thinking yeah yeah I love loss city humanity. Did you have the opportunity to know him. That is one of my greatest loss in my life. A wonderful musician and a great human being that's around you had a question about the preparation of scores with regard to the way you begin so you know not in the matter of meditation but a wholly new word. Yes I would be very interested to know how you go out of the study in a new school or you love school you have not seen before in your own preparation before you bring it to the orchestra. Yes. Plus that I have that experience and I was really good to my to my dad to live chat which is like that I look to
score and then I see the score I hear it I don't go to the piano. I just see the notes and I try to imagine and try to get them to hear it in the mind's ear as I hear it in two or three days. Do you have absolute purge now. But I don't think it's necessary no matter where I am and push here and there can be a problem. It is because the man was such a hard bridge and a united stance is the most mention of God. Which is I think going to be good because you know legal hot or not and I don't know or I don't know why. And if you look in the court review look at shoes. Is it to look 9 to 6 which means for 40 or 41 for Sadie.
I try harder if I adore God. I try I will bless the Lord for courtroom for for me that they're legal. That is until her own wells of glass rings. Is there really that difficult scene in this you know icing on the powerhouse and that's the basis of it. How does a little boat during this period of lounge chair studying the score and trying to visualize it. You must work toward trying to decide on some relationship of the parts in the TOC Hela the of the score or so that you can project in the performance what it would come down to the point of formal analysis. Yes all ending with or is not part of this I think that ultimately
the memory and the actual performance by the orchestra. Well at the start at least two arcs all together to memorize stuff made for years and years and that if I go through the darkest night here or time out to tell him I'm happy if I don't hear that I want to hear him try to make doing so as I wanted to and if I had the LR at least it doesn't lock it that way that I miss the wrong side of all modern again. I read somewhere that you like to skip the study scores on planes. Yes no matter how commerce plays on that. Well no look at your telephone no radio no radio nothing.
That's very and what do you think music is headed. We hear all kinds of predictions that the symphony orchestra as we know it is headed for a change and the symphony concerts are going through this is true. Yeah when I say one thing you know in a conversation on the air earlier this year with an American composer he made the statement. To the best of my recollection it was the Symphony Orchestra has just set up there and make music and that this is fine but that audiences are going to demand something more. I think this came up in connection with discussion of another man's chance piece here where there was called for a great deal of movement onstage. So do you think that there will be more and more of this
kind of thing do you think that people eventually will tire of coming in and just sitting down and listening to Beethoven and Mozart and Schubert and sure money. I must say definitely an absolute blast from it will come on all the loans come to concerts listen to watch and doing well and very excited. And if I have learned a lot I couldn't be a conductor. Well let me ask you another question do you think the time is coming when great audiences of interested people will assemble in a hall concert room to listening to sounds made by tape recorders and electronic spotters who think electronic music. Colonel Bushnell in my city in Cologne a very popular you know is Stockhausen's home or call on the radio.
But as far as I know or experienced this sort of concerts have they were all on board the INS. Didn't special concert but if we do belittlement mortar rounds this is all of us our audience and their mission. It has something to do with that. That great British or European solution that will come to the other conference attending it over the last month or in the United States. It's a little different but even more positive because the most people live as far as I can see is now coming up really great and Odin's is my experience in the age of the beach he says he's really that a very small city saw exciting that
was just slowly about Mahler's mama asked me where I'm standing. They didn't understand. Tell them and and and even other pieces and after the concert and they said in love or something like that and wish that you could come back for 10 women and mirrors and we will come to you in looks and leases. So I think the main opinion of United States music lovers and I hope that this kind of development of World's Top better drugs in building your programs to your troll to achieve some sort of a balance between the Beethoven and Brahms Mozart 20th century. Yes. Were not your OS but are doing
some programming to dance from under order ingenue bands come from and so on the actors in your own personal choice of programs. Do you do money I don't guard work you know rather than country to school. I can't see these huge waves. This is for me like Chinese well known among the moderns. In addition to Bartow construe them Spirit whom we mentioned whose works do you regularly program. Well I'm not running very much for the arts by Britain lawyers. I do a lot of prison and disaster for unsmooth from something else which is driving bad English from 30 years or as
I've done or as older. Clear about Africa. You must believe this. And I have some connection with this kind of music. Yours are the first British performances from the suckers of that that for me everybody here and most of the spectrum. But and I'd love cause a lot of hands that compose us. How about the Americans and I don't want too many of them I must say this. I have not enough time to look girls close you can imagine that in my office and cologne I get a parody 9:55 news cos you have it possible to go through all that even look if you have someone there to our sisters who believe this.
After they have passed on the Miami turn there's ones that they think are promising. We have over the years and this is when you go to your lounge chair was creaking to re-access things. Now you have conducted Mr Curtis virtually every major orchestra in Europe it seems and a great many of our American orchestras you have conducted were in Detroit and Philadelphia Minneapolis. Now the Chicago all the Pittsburgh and conduct of the Boston either you know I'm knocking bus time and a lot of noise and I mean this isn't such a thing live like that I guess I had that happen. Well you had the opportunity to compare
American orchestras with European orchestras. We've heard it said that each orchestra has a personality if you will. There is however some a subtle difference between the music making and the attitude and perhaps even the sound of a European orchestra from an American market. I don't think here because there are disarmed there is an active cluster that the song could be changing in by conductor so the conductor ears and imagination has a certain song and he wishes to have that section in the AMA in London or he can get it. Do you want sensed something from the audience during a performance. You can't you can see them but one of their own was the most important fact is to be silent. If they are
Simon doing pianissimo or early pause is the one carrying on I think this couple cotton has done well as orders. But if you have more money behind your back and much to my emotion magicka you can tell them that and this article of all understand sometimes Britain was so troubled by the kind of thing that on an occasion or to lecture them about it. No. But if we're not tension in the APIs and you're only council you can hear it. Excuse me aren't you going to say so I was wondering as you move from one hall to another guest conductor over the world. Do you phone problems a lot just the sound of the orchestra to the acoustics of the building of the hall and that you play is a great problem for a real person.
I'm on the water got the glowing so many hours allowed so it can it can act like an argument is it isn't likely that 20 minutes long this get that I have a favorite or is there one music room in this world that you feel above all others produces the kind of sound like Carnegie Hall and your Carnegie Hall allowed sought only conducted a pianist and I'm conservative. Yes I do. Similar acoustical Doman not at all is the concern here are you a warmer a darker hue is a concept a bad musicians are sitting last. Now this is such a huge thought that the right place at the generalization should count here on the
progressions that I saw Parker major and other close and businesses close together so each class section can hear and can make his other chamber music. How do you want to call it. And Will is a situation where Americans have written so many things about these that everybody has a consult. Thought of you that coincides with your own people. How about Chicago now when you were here with a humble radio I learnt is that you can demand that perfect wire as well court on a true isn't running them but I would have done a good thing with a man because that has been changed recently with a little ball and are still trying to find the store
that proper balance which will give the foundation tone as well as the lawyers and the strings. Mr Curtis that you were an admirer of your countryman Fritz Reiner. Yes I have had you an opportunity tool to meet him. I don't know whether he had been to Hungary or not and you're not him. You probably were familiar with his recordings as oranges because I know your personal life as well then when in your first meeting with his former orchestra. Did did it respond to you as you might have imagined it would did it produce the kind of response tonal or whatever that you had
heard in your head as you were thinking of conducting was your goal. You're approaching orchestra with that point of view. Yes yes and it's proved to be the case with the Chicago here in Philadelphia then we'll get to yet another approach to the U.S. military. Yes but I mostly want to lump you got the families very close to give them just that little thing so that it would instantly falls on brass. Then there are some names who do things at 38. Mr. Peres you are one of the most successful conductors in the world. You have 20 years behind you. But obviously you have even more years many more years I'm a head of yours. You have any special plans or aspirations
other things that you have not done that you would hope to do to remain healthy. And continue to make music and music playing and so and so just very very much. Great pleasure thank you very much Mr.. This is a conversation with each Bon character us music director of the Cologne opera and principal conductor of the London Symphony Orchestra participating or an on Parsons professor of music theory at Northwestern University School of Music and program annotator for the Chicago Symphony
- A conversation with...
- Istvan Kertesz, part two
- Producing Organization
- WEFM (Radio station : Chicago, Ill.)
- Zenith Radio Corporation
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Episode Description
- This program, the second of two parts, features Istvan Kertesz, Principal Conductor, London Symphony Orchestra.
- Other Description
- Eminent musicians discuss their careers and the art of music. The series is co-hosted by Arrand Parsons of Northwestern University School of Music and George Stone, WEFM program director.
- Media type
Host: Parsons, Arrand
Host: Stone, George Steingoetter, 1920-
Interviewee: Kerte_sz, Istva_n, 1929-1973
Producing Organization: WEFM (Radio station : Chicago, Ill.)
Producing Organization: Zenith Radio Corporation
- AAPB Contributor Holdings
University of Maryland
Identifier: 67-49-6 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Chicago: “A conversation with...; Istvan Kertesz, part two,” 1967-12-18, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed October 24, 2021, http://americanarchive.org/catalog/cpb-aacip-500-5d8nhc31.
- MLA: “A conversation with...; Istvan Kertesz, part two.” 1967-12-18. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. October 24, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-5d8nhc31>.
- APA: A conversation with...; Istvan Kertesz, part two. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-5d8nhc31