A conversation with...; Josef Krips
Conversation with Yosef scripts. This is another in a continuing series of programs each of which offers the listener a rare opportunity to hear an eminent musician informally discussing his own career and expressing his thoughts about a variety of topics related to the art of music. The regular participants in these discussions are Aaron Parsons professor of music theory at Northwestern University's School of Music and program annotator for the Chicago Symphony Orchestra. And George Stone program director for Zenith radio corporation's serious music station WEAA FM in Chicago. Mr. Parsons and Mr. Stone I was their guest on today's program use of Scripps music director of the San Francisco Symphony and the conductor of the Vienna. So now here is George still Maestro groups. We find a kind of common thread running through our conversations with eminent conductors from Middle Europe and that is that almost invariably they seem to have begun
with experience in the opera. It was true in my case too but I had the opportunity to start at the same time to mean three months later exactly after I started in opera I had the opportunity to conduct my first symphony concert. Well then the next few years I conducted much more opera than I had the opportunity to conduct concerts but already in the fourth year of my career. I had the polls to vote I was director for the opera and the same time for symphony the fourth in nineteen hundred twenty six in cultural way. You were at that time have been about 24 hours like Granted for us. And then you are first conducting in the opera must have been when you were about 18. No 1999 in nineteen hundred twenty one and then your first symphony was the same as yesterday. Well the first opera I conducted the 3rd of
September 9th to number 21 on the first concert was the fourth of the seven of the same year. How did you have such an opportunity to conduct a symphony concert. That's hard to come by these days. But while I had both times on the port unity because the conductors who should have conducted this opera and the conductor who should have conducted this concert was ill in the last minute. So I had this opportunity but it was a wonderful opportunity. Do you recall the programme perchance. Here I recorded my first opera ballet and mascara. In my first program I have finished symphony Schubert. Thanks God I never conducted it so I'm finished so I had a pianist and she played the concept that was a young country. And then
she played a Mozart concerto. I think it was the D minor concerto and then was a sing up there. She sang some arias for this arc and I come back to the overall overture that was so that was as far as I recall it and the artist of the artist of the People's Opera for example folk opera that I was before a violinist from 15th to my 17th year and I don't regret that because it is very useful of a conductor or something about stringed instruments because it is the tone in a string section is dependent on the boy laterally. And besides that it was good that I came in contact with on the ark asked them to stop it there. The man in the ark that science for itself on the left helps and having the Chalmers experience all off cos you
yourself. I believe you are a pianist and violinist. Yes but my main instrument was the piano. I accompanied many singers and many instrumentalists. And I was young. Well I still play it myself the rehearsals and all of the Opera House. I can play the Rosenkavalier Electa but I would still not say I am a pianist. Because for that you have to practice. We might go backwards a little bit to your earliest training you began your music study at home. Yes in my lineage of six that I had thought I started to study piano at my first my first taught also in harmony and my father was singing in the church choir. I believe he was a physician he was a physician and he had a wonderful voice and Reagan's core of The Man Who are the conductor in this church was a pupil of Bruckner. And he gave me the
first instructions and later on I was harmony and counterpoint with Professor ICBM's monthly chess game. He was the greatest teacher. He was the last friend of Brahms and I think everybody who comes from Vienna was once a pupil of mine the chest there. I had the opportunity to. Félix mine and that was a very interesting thing. There was a singer I coached sing us from the age of 16. And when I was younger I had still a much better memory than I have today and. There were many many operas I could play from the first of the last note without the piano score and I came as one of seeing us audition divine God and I became to the Forks Opa. And
about 20 people there was an alteration. And just minutes before this audition should have started. The clerk came to tell Mr. Vang governor that the man who should have accompanied all these people was sick so Vang got no say there's nobody here cannot come by me. So I survive and try that company or it is 20 people from memory. So he caught me to see him and he said Who are you. And so he became interested and I could come over a big rise to his apartment and I learned a lot from him. Not one when was the last time my step was nineteen hundred twenty ninth in about 19 19 million to Landon 7 and I mean I was young young when you first met really aren't you. And he engaged with them. Nineteen hundred and twenty one.
At the first stop at the Forks top up I was there to sing of course what they call it quite a bit the door and one year later I was chorus master. But I started then already or the folks about the conduct mainly if somebody went sick in the last moment and there were many options. I contacted this way and then Vanguard and I left for 24. And Dr. Steve became his successor. There was no conductor there for about three months because doctors did not want to engage that part of the comeback thus they were here and some left because of wind up not left. And so I had a terrific opportunity in two months time. I come back that twenty seven operas all for the first time through seven different different the SS But there was a mass of humanity there in the capital of Astoria lanes
had no opera. But they had an orchestra and they had of course they had not the money to engage a whole ensemble. So the carts the VMA bought. Every second to the two of us saw an ensemble of the singers. From Vienna and I was chosen to conduct this tremendous experience there my first divide novel published and I was 20 years or it can imagine because I can't I can't imagine how I did it but. Apparently I didn't value as long as that would not happen get my second crack not offer about 6:30 so I started with the most difficult things. But you say it was a tremendous opportunity I was young and you hold up us quite well because I made hundreds and hundreds of rehearsals with singers and very open house the same house. And this
has very musical singers because then the little match up and you have to do it much often so you get to know all of this. Nowadays with this song it is so different nowadays young man will never come back to the opera never very interesting I was going to come back and face the voice of boss you see that's very very difficult. How can you go from from the Grammar School at once to university so that was a very healthy thing. What we did in the past you think Maestro Cripps. You have spoken of of working with singers and the technique which is involved. Do you think that this also sharpens the conductors ability to draw from an orchestra in concert work. The kind of of breathing and spacious music making that he wishes you say are very important for praising.
We make music not because then we make you know the rest of the time. That means you see a picture of a painting. Or a sculpture that is made and that remains as the days until somebody comes and destroys it. What it is they are for eternity. What this does cause a score and the reality is that they had seen the piece of a little pass to be recreated with each stage of performance and what it means obliquely to fill it with the breath of life and just say that is the most important thing. The difference between bar bar bar bar bar and. That is the wall and that is about 90 percent of that but we have to build and park has to have enough to play and park has that has to have the impression that everybody sings
in this instrument and the second violin player has to play one note he can play he has the bar and that is so that's the only possibility where you can bring a real beautiful sound to an orchestra because the moment he plays he cannot produce overtones harmonics and you're not the bugle bit of sound in the artist and the nominal sound is nothing but the sum of the procurers of your own. Now Bob was the first instrument of what the first instrument in the world of the human voice and then came the instant. And finally enough hours of technically speaking. There are the same hosts for a Barca star player. As for us it's a singer that misses things from
UP DOWN. He can't sing he must he must sing the opposite direction. When a horn player who played he has also to think. And from this angle you can make yourself internally. You know those are very important things when you're very up with an artist or is this something of the sort of thing you learn going back to the days you were with and I know you have a distraction and there's nothing I like him myself. What was the nature of the instruction you had with a blind guy you know because I know literally you had the opportunity to observe Toscanini all and with the interest to know Lang God and I have learned one thing and I'll say it that man saying and the most important thing
that thought of peace when your nor the form you will know of the peace you see even at memorize and analyze a piece that's the only way that I can learn it and keep it in my mind so that I can come back to help us because I am not for that machine and play recording and sit there and count that until I know it. First of all I'm going to learn after recording you'll learn if you don't know the piece you'll learn that in the petition of somebody else. And it is not possible to copy a personality. You see there are very great conductors. That have marvelous. But if somebody else will just result the personality of this man will do the same. It will be really big. Therefore I still think functional starting
from the score and not from a record like that. Find out now say the main thing is to form the thinking about your own your own recordings because you have recorded so much. Do you learn from listening to those. When you win you prepare and save for another Beethoven's Fifth Symphony or no. No I think you mean Celcius is a list that changes do you make changes from what was going on I hear you say there are paint on the scene from as I conducted more than enough for up to seven years. In the past. But if either one of them fell before a game but you get it from me but you go back to find more or less your sayings. Busy now I come back. Don't John Besh piece of a bat have
done at least 8 times in my life. That's hardly any work at that age did not play dumb fun what did I miss QARASE I hear about the horn playing by. Myself. How did I not see this you know what I did. And the next and I he said never but that myself they did and did not do it because I just did. So you'll find all of us little sayings so that you can and will if you will not do it. You will become part of a color and the routine is that end of meals. This is very true and I think that it's interesting that you say for the hundred and first performance you study again just as you did for the first.
Further for but of course a little bit less because I know the theory I'm certainly not learning to never go to a park and stuff isn't that the starkest p.m. hour and she cowered as other small arc as the result prepared. That is very important and nobody can say and. I know what that will be all was little sayings. They left you see enough of that misery after apparent success for your very I have maybe a standing ovation and that you have wonderful credits. What happens also sometimes. But. You're saying to yourself Well yes but. That could have been that Kolker that thought that you will all of us you have to strive for perfection. Knowing that such a thing in the reality is not our destiny to reach perfection.
It sounds as if you take your text from the score itself. Yeah always. What what in the course of your career. Turn your attention to this kind of in-depth study because so many was opposed Comey Toscanini of us for us the revelation of beyond wars. I remember when Toscanini came nineteen hundred twenty eight of his last column with the same house and the stock has gone to belly. Of course I was in those days and I'm a sick director in Karlsruhe and I had contacted by this time at least 60 different operatives and so on so many concerts but I had to hear posts coming and then I hear the first time I was conducting proper way. I had only one feeling never catch a game about it was so i'm believable you know in those days there were no recordings from last Skylar and we thought a performance
which was given in the p.m. hour but a bed towards it but I later found out that was not all of us. And sometimes it was very bad in certain opera but especially in the Italian record. The first same what I learnt from post time was that a compliment from it wasn't so that I had the feeling if a second violent place of really his POB in the Trovatore it he must afterwards be much more exhausted than when he placed the horrid taste out it was not just a comment that something plays it's just the mouth expression and the generation of unknowing of sound caustic and tossed around in it just a thought lost in the score. I remember when I come back to the battle of Tristan. I was sitting in the artist on the other timpani player and I was
present at the heart of rehearsals and he correct that the wrong notes and the whole audience which was played since the first performance I was there. Now toss coming here also from Memphis experience. The first time you heard Toscanini do some of the symphonic literature. Was this also a kind of revolution. It was also I have a lation But you see. Advice sometimes for me difficult to follow. See the way he played courts and so sharpened. Something it was never a single score updated. Instead I had a feeling it was not well that was what I was going to ask or Beethoven Beethoven the army must in some paper of many of us wonderfully. He did a marvelous model lesson number seven but the Ninth
Symphony that I thought it should be the peak of the singing that very well the best thing both the last movement the moment to sing us. But the first moment that I was not about ever saying what's marvelous about it but I had the feeling that this not so his cup of tea. But then the G minor symphony valuable here that I found past eight of us. Which is by the way in my opinion still the most difficult symphonic invalid. So that's really the not when I was conducting additional Khalsa live when I was 24 years old I had to conduct on how to conduct a symphony concert because the position called for an opera and for a symphony conductor conduct of the master thing up from memory and that was that it was easy that that was no question
and the concept I select that Strauss not Mozart the G minor and the fifths batal. And I was engaged but I said to myself I never have any more of a college to do than Mozart and either a miniature score and I paid. And I was hardly any day. Now I'll look into this miniature school and you know when I had the nerve to do this symphony for the second time one hundred fifty one. Really it took me 25 years you know to get the atmosphere for other stuff that there's something like this it is very easy to start the violas and cellos but that is not the
game I'm in now. My files are of us a member of the Vienna sync fine. Of the society of music France that is on all it caused his which was founded in the eighteen hundred seventy for a certain time Brahms conducted this course and I and my law sometimes conducted his courses when he needed a chorus for some of his performances and in nineteen hundred two Mahler. Was invited to go to Palace and took the Vienna Philharmonic and he took the chorus of the society of music friends. So my father was there and performed the Resurrection Symphony and some very unpleasant things before the performance and. All of a sudden Mahler on the
programme was the G-man a Mozart on the Resurrection Symphony. My father was a doctor so the concert master of the orchestra are not all say called my father onsets Mahler fan and it took about six or seven minutes. Mahler my father told me the story. Mahler looked like a concept at the start of an hour later but Mahler insisted to come. And he came out conducted the Mozart. It's a merely bad man. My father said that was his greatest impression here. Ever heard of conductor. He conducted them his resurrections information that's very successful. But my father spoke all of us about this symphony you know and starting this piece. I had the idea that as a saying that before a human being dies. Maybe a minute before he has the
grace of God to see once again his whole life like in a kaleidoscope. Even that is what I feel when I come back almost not present headset. It is not the government that our government our Yeah that is has nothing to do with his ideas of Iraq or. The same Mozart starts law but he never comes here. Because in every thing you see in the metal the Magic Flute. I have never had the feeling this first story arc courts are the pride of the Freemasons. I have the feeling this court's docket that I. Have the feeling this to say about what you have to. Write in the
company of the magic people and if you don't feel bad then it was not the Magic Flute then it was all of the flow not the magic is lost. There is another Mozart symphony which I wish were programmed more frequently and much of number 25 the little dream our lives. Didn't you know this is you G-man a part of all. Well not in this country you know like I would say it is not performed as much as will certainly is while they are not as much as I can see how many have been saved from these out of hyper old I'm tossing money down how many missing from his back and I know I didn't know. Not more than eight miles per hour miles up next. Well this is one area in which the phonograph record has rendered a really fine service because we have the opportunity to LOL all this neglected literature into your savior. Not besides that that created interest in the symphony and since then are
you calling people come to the concert. Sometimes they are very disappointed because the saying about the hair that I have to hear about concert forgetting that usually the comeback of his chosen field of recording records of where it belongs to his speciality. Then you can correct you can't even one tone correct in the attic Oh I think you know take Nicholas speaking and you can reach a much higher point of protection then you end up in the region a concert still alive but. If it's halfway good is always better. This is very true. Do you enjoy recording. No sometimes but sometimes it is very hot and you have to do a piece songs off. And you see I said I don't like to make money. Something is wrong just
to record that came to pass and they can't put that back in because then the lioness is destroyed right. The line is just as right. I take it then that in your recording you do not like to do it in S.. No I want to play this piece as a country over. Been there no prize just the same. Maestro groups you knew were rehearsals with an orchestra a lot of strange orchestra or one you don't regularly work with. What attitude and atmosphere do you like to create in the rehearsal. I like to create the atmosphere that everybody is interested because the moment the musician is not interested can I talk. So I tried to create an atmosphere that every musician saying it's now I can do my best because even if they are very hard boiled sent us at the end.
Everyone likes good music. As of as he would not have been but you see that to be an orchestral musician is in reality. There was a tragic perfection and I don't think that in a good orchestra I saw so many people who have not only started their own style they have studied music and they have an idea of how a piece should be played and every art has a different idea but they have to follow the path home. Some of that is kind of a frustration. I would crucial to have but they have not been saying it again I thought that was a tour of the Vienna Philharmonic tour Hungary and the Romania Yugoslavia is find out now and just off the bat. The day after that started a tour of five concerts as the benefits of Hanukkah on the promo boarded up and along with that was the family case that the greats in major super was on on both. So in the morning
I got my come back to them that I have the greats in major and three hours late but all of my heart that I have and they're entitled to put it in there but I think that it's kind of Friday night especially the holidays that mount something like this right man. Yes you see that loved member of the orchestra in the last seven years. There's up and believe. Therefore I say all of us and I walk as the musician of wakes in the morning. He's all the way people think that because he is sure he will be abused by the comeback by that mansion manned by the public by the critics by the tax collector by others for that so I must create. A good atmosphere. You must give them the impression that you as a conductor are a part of them
you have to feel as if you would be a member of the orchestra are very important. But you gift them the feeling that they are creating Brasil. And now in a good doctors that will say I don't not like to have a lot of it just play as I conduct and there is a solo in the whole board and the floor in the hall and I feel there is some personality where he has to get something I am listening and I have company that gives him an enormous uplift U.S. and creates a very for him. But he has his own market that is our science for you during your current appearances here you are doing repertoire that this orchestra I am sure could play in its sleep. Yeah they know that this will leave the Don Juan the Brahms first and so on.
When you confront the orchestra for the first time what do you do. Do you just and do start from the top and I started from the top but then there are all of us some things that have to be us even if the Act has done nothing the same as I have then I have come back to the piece how the primes are trying new things and I restarted. Yes that's was an orchestra the same cost and artist of a lumberjack favorite play if they see you show them something but maybe they have that thought overlook just to play through a piece and then say once again not that bad and neither are you listening to a conversation with yourself scripts with there and parsons and George still be paused ten seconds for a station identification. Now resuming the conversation with Mr. Cripps here is Evan Parsons
the several times you have mentioned the fact that you've played various works symphonic and operatic from memory. You have indicated that you study the score by analyzing the form but when you memorize do you do you memorize from a visual point of view of human rights simply as an aural thing when you conduct a yeah I remember something I have mouth is kind of a photographic memory because and I'm very happy that I have that I know exactly what each instrument has to play. I know it's very early but some people have to because they are the genius investors they have also quite a photographic memory to see that but they are telling us something and they outline that was 10 pages and that is the moment that almost lost something from that line. Now they found out I think this is a I don't know if I should speak about that. You see during a rehearsal you have of
course you have to listen to ever say you have to hear what they do during a performance. The moment you are listening you know what I think. How do you achieve your position as leader when you got home and the people in my life. It is very important that you look and it depends on the quality of the market. Just because I can react in the moment. Well of course every artist I had once upon a time a bay often cannot but we also have a tale you know that this is I'll. Tell you something. I pray before each performance because you say. It is not the subject matter of course that you can recall now autumn's come about. But here's a thought really. Yeah bye bye bye. You're not blessing and there's momma Various
out of a sudden you feel you have. I only. It is another myth of the afterlife is another job. It is a vocation so a vocation if somebody feels he can live without making you know that you should not me there are so many as a profession it is a dedication and that is the whole case because they say music is so in our lives it doesn't describe anything at this time but the same but they have let me say every every man who really lacks can hear a voice in something like that is knows that it is the language of the soul. Nobody shot that. You see and know they can bring happiness good music is not entertainment. That is a
place that can be consolation. You see after the last war I had the privilege to rebuilt nearly single handed the Who knew that life and there was no conductor and I had to come back up to 20 times some lines and that was out of power and they had nothing to eat. And there was no transportation very All I had to voc all the distances from home to the room and back. We have we have no transportation and we have not even heat in the office. I remember conducted Fidelio and then up on the vino that was very very cold but still in those days of music first and then all of us I remember the first for about four months of it daily of the 6th of October and nineteen hundred forty five and they're out on the scene and have got safely she sang and
eventually start the choir. Yes and you could see that he has coming and the same verse tell us and they come at me and that sort of tears and shakes of the orchestral music. And you could feel that the whole audience was moved in this music there really all the terrible things they had to go through don't forget me and I have one hundred forty six air raids and they left home in the morning they did not know when they come home as I'm able to see again our family. Nobody knew all that and just in those days it showed what if Mursi in the reality. Do you think the atmosphere of your life is unique.
I have a friend who several years ago attended a book of performance in Vienna. And as he described it to me I got the impression that he felt this was almost like a how shall I say it I was almost a religious zealot. Church religious experience of course that you can have that you can achieve because of the counseling and then the reality here rolled all of our lot had a stroll. Yes and then every company they are counseling must not be just the U.S. and Canada. I started the interview I was a guest conductor 953 was every year in Mongolia I started contacting But they have a right man because that was the first special of the French part of the population and the other 75 percent
in their faith some connection. Broke novels of telegraphic success that must not be in the well of cost town their bed of money. Mozart and Haydn on super broken because of Marlowe I'm sure they are conveyed by of course their eyes of wonder for its soil is full of music of course but we have our shortcomings. My God they know their stuff my love and say if it would divert 24 hours every day we could not produce more than at the most two to three really fine performances in the opera so the France let my ass of the manager of the Corps director. They keep of those two or three or four.
And the ones who are disappointed because they are marked engaged for conducting their very rightly put this four or five bad performances and so every every director can count that day and his enemies will be more than his friends and he has to go and so are the greatest people had to go in because that's my life before. But that is that we end our prize such a wonderful institution that will survive. We might go back to pursuing your career again because we left it in Vienna Vienna. Folks over porn star and then you moved into the startup we have Alan up in between have us in our sick that well and the German part of Czechoslovakia that was in mind and how about 24 when I was 22 years or I was a chef up the chief of the opera was one here and the following year I was first come back in the top mount that was in Germany and
start out the top mom and then I came to college sort of where the following year there I vas from nineteen hundred twenty six thousand nine hundred thirty three. But. Right I have a thing called what I was already guessed contacting many many other places. Remember I was in twenty eight twenty nine I can't back that forty eight performances in the halls in front foot during that time and Clemens Krauss who was in those days and the director in Frankfurt was on our tour in America and in those days I did a very important job and I had to go over the first performance of yama checks case market operators. So I was quite an experience and then I came back to come back that in Strasbourg I conducted in Budapest and I was guest conductor and I am now perhaps in a few months. And then later on I was professed
of the académie of music until I came in that post and. That I sad time for me. In fact early but that all of us found time to sing us that well don't listening what was left of the actor's voice Konetzni just sing of the and I rang them up our roles and the service. Mark Lawrence over the first time out there and that was my connection to the moment. Could start up again and then I thought and then I was at the Vienna Opera from 147 on. We had tourists with the Vienna Opera under the Vienna Philharmonic when you reopened the Vienna. Opera. Yeah it was was Mozart Well yes. Not so the figure of the first of May in nineteen hundred forty five at most when a great
and raised in those days they had to start a performance at at four o'clock in the afternoon. Because after eight o'clock in the evening nobody was allowed to be on the street. It was very dangerous. If you get another home you would have been shot. Well the war was over this time was the yacht but that best places the fort. In Austria. I see. My stroke. Let's go back now to our consideration of the step by step here. You remained at the start top or young until 1950. Well and open doors of the first Salzburg Festival to face the real science book festival live at the Vienna Philharmonic and the piano was in 46 and that was a great celebration before the performance of Don Giovanni started cracking or General Mark Clark was there I hope give
us our High Commission and all of the whole government first they had a president of three out of the car lot right now. The whole government stock the figure and General Mark Clark made up one clipped education speech and after that the parliament stuff. And that was also for its Book Festival in 46 47 48 49 and taped it and I left Vienna and I are vent to long gone as permanent conductor of the London Symphony Orchestra and fostered for four years. But during this time I conducted or saw as our English five-Test stuff. And I conducted it have it hasn't been manifested was some of us in Copenhagen and the norm every year lumper for experiences but since I go through when I talk and I'm going Hunter. 50 for. The position and Buffalo.
That means I had to spend every year at least five months in America so I could not do so much anymore in Europe. How did you happen to come to America originally was this idea guest conducting now I was engaged to contact three concerts in Montreal and Viola was a monk but I got a telephone call as I could not come and do the following two concerts in Buffalo and it happened that I had at that time one week so I have been there I have is my manager and as Mr Hurst the late Mr. And that gave me such a reception that gave me a wonderful compact. Hardly could say no but then I've lost four times in fifty four fifty six fifty eight and
sixty was the music director of the center not the main festive are and then the fifty six I conducted the first time in the York the NBC symphony archives that it was called the symphony of the air and then I was guest conductor of the Los Angeles artists by a Boston sound lawyer. In Rochester then I come back to New York Philharmonic many times and then in Chicago. I'm coming here to chapel since 953 and 1963 I took over some from fists or interest or some Francisco artist sing of a locked into a strength because I recently toured with the artist in Japan. The most successful 12 concerts in 14 days. How long is your subscription season so the subscription season starts the first of the sand bar.
The can't start earlier because from the 20th of September until the end of November there's the opera season and we have only one house so that can start before the opera finished. That is usually the end of November of the first base and the same bump at this time until early June. Mostly it is over by 1st of June. Well then do the same musicians play the opera. Yeah that is so I have an orchestra of hundred people and only 67 play the harp. But I am very hopeful that very soon comes the time when the whole arc of the play because then only 67 played our part that means everybody has to play every healthful and every performance and they are very tired when they should start a new concert season so they have to kind of have to alternate in the opera so that nothing.
One man has to do ever say I am very hopeful that that will come and your joy is that you see every contact as an arc a thought. That man's now a long long I see is right thought we could get there very easily if there would have to for have been and after I've EVER paid for all of it they have now surfaced six weeks because the play also in some of and I'm not here I believe you. You do not do any opera in San Francisco at the opera in Vienna and the Metropolitan. Last year there's a magic flute and the shy guy is the shy guy that question but and then I have to be in the Metropolitan and I'm 70 and what you do in your house I think I can do it before and I shall stay in San Francisco until the 1st of June nineteen hundred seventy seven. I think that will be just
the right time to be a normal music director more or less than guest and actually. Myself I chose my success that will be missed by saying that this is a good choice. Could we speak about programming for a little bit. We know that you're a specialist in the Viennese classics the Beethoven the Mozart Schubert and also in the 19th century music. How much programming schedule this 20th century music. Oh very much very much toward a very top bar talking to lots of contemporary Burks. There's hardly any program there's not a content but I live there of course I can't do that in San Francisco that they are they are they have often enough I have already for the hassles and lift their eyes of specially difficult for
I can they have even five prevails even if we paid up all the time but if the venue because I guess. You have one going to hassle or you have no hassles for two concerts. How should you have to look at content. What are some of the 20th century pieces that you have done besides those you mention. Oh man had I did I did a I think only one thing I found a way to not go out on top music. Because I think that is that moralizing for each artist that in a score better are not nodes but only lines up for power the orchestra should improvise I think that this that while the model lives for I feel I am perfectly willing and I don't at that really haven't performed music resister written recently for Marcus because I've been updating the test that there's not one need to have on the markets some
of those pieces you would need to violence and you have the seventh backlash in place but that is not for me. What is your personal reaction to electronic called music. Well I say music should be made by humans not by machines. Do you think it is music. Not in my opinion this AI would be are just a liar. If I would do something that I do not believe. Does this cradle apply to everything you perform here do you think that it is impossible for a conductor to do once I do an honest job on music he doesn't listen. Believe or not that is not. That is not normal this will pay me the. Deal I asked in our business from our comeback is in the
reality the same as if you'll say a doctor should be a specialist at the same time a doctor he had barked. He should be at the same time most searching he should be everlasting and you're saying it took me 25 years to do a decent performance of the dream minus in from the bottom of the hour do you really saying if I have a dollar every day's dancing meal and just to start it there in two or three days or even one week and do the same drop of ten dollars for that live or live this it's just not possible. And that there are something that is that tragic but that is the tragic which was all adverse or is on the order there is a leader saying that there in Mozart's time already paid off this time. That they have performances like we have today. That takes time. And I remember when I did the first time the part of the concert forecast that is now
over 20 all over 20 years I came I did it after the war in Vietnam. You know all of the same scar that do it today entirely different and I think that there my first performance there must have been article of the events of the platform so I could give it up all the time for the next year again. But don't expect perfection in any performance of him in New York which is before the first time because not only the comeback but all of the musicians must get your vital the player Beethoven symphonies a while because they know exactly what that as a man plays in the army. Every man in the eye because they should make music not just for abuse nor so many you know was. The whole piece. Than him though was much better but he can contribute. But if somebody does not know what is on the make page house will to really give a great performer. So
it is by side say it is useful it can knock us back and play from fails but it never will be a real performer. How should it be. It takes polishing doesn't it. Of course part of the greatest of all before your can think the void. Partially you must know what I see it. They are the same bag. Clothes can even ever come back to more than 10 problem but IMO I've never more than 10 programs. And then they come back that in New York they did the same things what they did in the last hour and that it just DOS programs nowadays. Your comeback by his the comeback. At least everybody here did progress if there is an enormous thing. Now there are 52 week city leaders think any comeback there in the world ever will be able to conduct such a season in San Francisco.
How many guest conductors do you have door I have man I can document on board I'm renting makes but you seem very young ever trying to progress by even only 18 because there are these very have special times of bottle less than 20 programs and never come back. I think that is just a limit because I can tell maybe the end of pain problems. That is if you got up there but I didn't You are every artist of a play every year the nine Beethoven symphonies of the four classic funnies and laughs here in San Francisco I had once. Beatles them for me and one standard perhaps the only and only artist sings because I'm not one man to handle standing as the big dog and here they are the last bad thing of course. When do you find time to learn in your own heart and mind. Love many many words you well that's a definite for live never sleep more than 5 fart during the night by morning.
Whenever. I have to daughter. Then every year you get at least 60 or 70 scores. There you have to choose from middle schoolers yours yours of course of that. How do you handle these when the sun you know they're not very. Peculiar very happy letters. I don't know whether I should say that. Now you see if all of us are San Francisco and I have some gauze on my table. And sometimes when I'm very tired I catch myself. At readings that love go out and I thought I'd be one step in the morning spite of the fact about I'm so tired this is of we have potentials for before. If I just go to sleep after statement and call it away maybe I'm a man.
I made many mistakes because. Every comeback that every human being makes mistakes. But and I'm attracted to it and that is to be attracted icons perform the piece because it is that is how should I be able to pull back. Mr. Cripps this has been a most interesting conversation we have touched a few of the high spots I think we could say in this illustrious 47 year career we would probably spend another 47 years if we were to go exhaustively into it. But you have been most gracious to receive us and we thank you as a pleasure. We thank you very much. This has been a conversation with us of Cripps music director of the San Francisco Symphony and conductor of the Vienna Staatsoper. You're just repeating where Aaron Parsons professor of music theory at Northwestern University School of
Music and program annotator for the Chicago Symphony Orchestra and George Stone program director of Zenith radio corporation's radio station WEAA FM. This is the national educational radio network.
- A conversation with...
- Josef Krips
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- No description available
- Media type
- AAPB Contributor Holdings
University of Maryland
Identifier: 70-SUPPL (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “A conversation with...; Josef Krips,” 1968-07-17, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 29, 2024, http://americanarchive.org/catalog/cpb-aacip-500-9k45vd9j.
- MLA: “A conversation with...; Josef Krips.” 1968-07-17. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 29, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-9k45vd9j>.
- APA: A conversation with...; Josef Krips. 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-500-9k45vd9j