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In its visiting scholars series WB away presents this it with a conductor part 2. The visiting scholars programs of the Cleveland public schools was developed under the direction of Superintendent braids and was designed to bring teachers and students into direct personal contact with outstanding scholars in visit with the conductor. We bring you the second of two interviews with Sultan Rosny III a conductor who has led many orchestras in Europe and the United States. He founded the Philharmonic Angara in Vienna following the Hungary and revolution and made his American debut 1956 conducting the Minneapolis symphony shortly after making his home in the United States in 1981. He was appointed assistant conductor of the New York Philharmonic Orchestra under Leonard Bernstein. Mr. Rosen I was recently appointed conductor of the Utica Symphony Orchestra and has also appeared as guest conductor for the San Diego Symphony for
several seasons he has been musical director and conductor of the Cleveland Philharmonic Orchestra. In addition to being a teacher and conductor Mr Rosny III is also a composer. He is interviewed by Cecilia Evans of WB O.E.. Mr. Eisner would you tell us about some of the orchestras that you've conducted. I'm quite the wrong list of course because I'm going looking that. 800 years of of my music career and I spend a good conducting. So first. If you are interested in the race first of course I want to engage in Orcus times beginning with nondairy and National State Theatre Harmonix and I'm getting a few Harmonix which is a different to orchestra than the Radio Orchestra Hungary and and and there were no sympathy orchestras in Hungary which I've been conducted for many many many times as a matter of fact no two of them I was music director. And I came out two out of three and I conducted who I was the orchestra I was.
The Vienna scene for me there neither was they sure don't consider a guest there. Which is the second. Same same point against the other. I had no opportunity to or personally conduct the Vienna for my money but they had a radio recording with them and then I conducted Grotz. Then I conducted they used because throughout that I conducted in surgery I was in bodies. I conducted in Best Song Festival. I called the conductor the Stockholm film Harmonix. I was in. Finland the conductor the head sink if you know I want one. I conducted a Danish radio guest and. I had never reported to conduct even on that unfortunately. And I'm looking for by Maybe next year it looks so that they will invite me. Then in the United States the biggest assignment of course was the new freedom when you when I was assistant conductor to the stand and through Him and through this wonderful opportunity I've gone by then you know if you have only a couple of times. And here in the United States and got back on I think a lot of smaller and bigger orchestras beginning from
Nashville Tennessee and growing up in Cobb County I'll bet. And. Going to west coast to San Francisco and San Diego Symphony. Here in Cleveland my commitment to harmony. And and but here in the States I had not the opportunity to take on the major five workers that I succeeded except in Europe you know money and at the end B.C. the symphony of the here that's been my going that that's what I've seen you know you ranged over the continent of Europe and of North American you're conducting do you find many differences based on national approach or is there a universal quality in the orchestra I guess basically there is a universal quality home to American orchestras and I think the conduct those who are going and coming in different countries they agree and that's American orchestras less individual and more precise and more disciplined which is a very very important going to the orchestra playing. We conduct those thing that too much in the doing in the orchestra musicians
doesn't help that togetherness and the pre sized open end of one line. Rather it did sort of open doors to the conductor was willing. So he knew right there states that workers took one of these I was very very good and I would dare to say that they are right you know at least matching even though I'm not a bull. Mona Beth Europe in August I was already the ability to play an ensemble of all sounds I don't belong here all I saw was or because they like like a boast on few of them if you or or someone just mentioned the biggest of course including the people on the orchestra here is I think they are at least as big if not better than any of the famous European obviousness. I wasn't aware of it. Mr Rosen here I'd like to ask you what led you to choose the field of conducting as your profession. I think I am a native cosmopolitan. I hit borders and and small companies and and people who are hitting each other just because of a geographic situation or a
language situation. That's my basic philosophy and that of course leads immediately to an international field which is I think nothing better than the music that music has no no language barriers and has no jail graphic barriers and I believe I'm. Optimistic and I believe that the better understanding of people each other and I think that through the music is one of the best way with the music I had never difficulties to do to achieve friendship regardless whether it was the comedies the Russia or the or the Mts of Germany or the fussiest from Italy or the or the north or east so we said land or stock or more or the free mind that America everywhere of the people immediately understood each other if it was to music and that's exactly to my philosophy. Music develops communication between people and that's the thing I think is more and more important in your future if you want to be international You chose the right Art.
I understand that you're conducting in Europe this summer. Could you tell us where you're going to be. Yeah there were quite Indians in plan for the summer Harbor I have to skip something because I made a contract with one of the motion picture companies for for doing again a motion picture score for one of the coming feature film which made it quite difficult. One other part of my conduct as a conductor so rightnow it was that besides doing some record for the Columbia company an M.A. and BNR I had to skip two of my conduct the assignment to which would be World me in one of the festivals there Harbor I would know that we need to be more in the coming few weeks. Then you may be tired on Hollywood working on a movie screen. It will be not in Hollywood but anyhow it will it will be it. If it makes me very difficult to do when the jobs in the same times I will be and I mean I know definitely even a summer. I was wondering what some of the problems would be that are involved in
working in the movie medium and writing for a motion picture. Special problem which is different from those what a conductor has of course is very different and feared more as you have to know everything about the fear of course and you have to know the technicalities involved especially technicalities. You have to have a very good. Feeling very good you have to adapt yourself for the meaning of the preacher and and transfer this type of. Feeling from that picture to music. Otherwise raw you see with open eye and see in a framed picture. Why are you going to go out as many photographs as the many coming home and always see everything in their way as a cameraman should the musician here something with a musician ear with that open ear. Whatever noise or adjust music or one of our best lead as the noise puts in so often forms and write the way I am most would see a score out of theirs.
Now that the scoring of music it has to combine the two you have to see be open I like to come out on $1 in picture and the feelings you have to cram into a musical after facts even noise s and the two things have to combine together then it works very good. Do you read the script first or do you think because I read the script and many times I mean World Indoor production as a matter of fact I also directed some films I get so involved that I figure that it is necessary to study every bit of the motion picture industry and and the technical. Requirement when you would have to know about all the different facets that involved in making a photograph for myself and I like every every every step of a motion picture business. This indicates that the musician has to be well-rounded in many different ways. It brings up the idea of knowing art in general because you would need to have an understanding of what an effective background might be of knowing something about literature
so that you can evaluate dialogue and relationships. How important do you think it is then for an artist a musician to study art literature foreign languages. I think what you know is a and it means that the being or not. The determination of a general educated so-called culture a human being and again returning to your previous question. What are the most important qualities of a conductor or a leading person. Where education and by by well educated I mean not only educating he's feared to use to being specialist on something and don't know anything about the other field by being the leading person one of the most important qualities is that you should be prepared in every field. Sometimes sometimes very far every project for a few years from you or a specification are so vitally important that you may
realize only when you are in already. As a conductor of course you stop very many times and you have to realize that you are facing two hundred very educated musicians who are not only musicians many times but educated and literate literary people from many feared and suddenly brought in his story by talking about the one sebastián bar right talking about history you have to know what happened in this age and if you are talking about modern music many times you just touch the electronic field and you have to know a lot about acoustic. The modern electronic What does it mean and what are the meaning of acoustic of the hall. You see just the in the few words I type. I tired to tell you that that last drops in the life of any leading person if you are not well educated so there are not such a thing that you are better educated in music but you don't know anything about his story or liberal arts. Of course someone will ask you about the Italian Renaissance music and you don't know the meaning
of the Renaissance you are reading in German and you will only route but I think there doesn't do something just to have the outer ity but for him for his own sake and for his own. For there I did not have like Shearman is an everything that that one has experienced comes into the ark. That's what I think exactly works at. Yes I read a good quote yesterday that impressed me. They said Art is life. Observe closely. Very good quote Whoever did and I don't know I thought this was very true and effective. You know you mention Bah. It strikes me that if one knew something about the period in which BB wrote and what his feelings were but you could bring more to the music would this be true. Absolutely true of course because it's almost impossible I think to interbred someone's work just that that paper note without knowing
more about the person who wrote it down it would be the more shallow than that on the way to to do something without knowing it's like God. I would introduce you as a good friend of mine and they were the people who buy into those and you would find out that I don't know anything about you the same thing in my profession I have to introduce and make believe that I know them so close that I am talking talking in his language and yes their heart and their ranking and interpreting what he wants to say but you cannot say anymore because he's dead or he's he's expression came through the paper so I have to make their feelings alive and to make it of course I have to know how the people. What were the second systems whether people already have computers or some way when you keep the past alive and reinterpret it for the present Mr. Razmi I could you tell us anything about your plans for the future. I want to be a good conductor. I think that's that's all and I'm seeking for the opportunities to express myself. More and
more I fear that everything what I learned and what I fear could be expressed in a podium through as employee orchestra or through Oprah. And I think I'm most happy when I'm when I'm doing this and you see my lack of English language you can hear but I hope that I'm not stuttering as much on the podium and hear the microphone. So my future plans are simply I want to be a conductor for them or very good times. The future sounds exciting. Thank you Mr. Rodney I invested with a conductor part two. You've heard the second of two interviews with Sultan Rosny on the visiting scholars series is produced where the Cleveland Board of Education station WABE O.E. FM by Charles Segal engineer Dennis Beatty your interviewer was Cecilia EVANS This is leaf anchor speaking this is the Board of Education station WB O.E. in Cleveland.
Series
Visiting scholars
Episode
Zoltan Rozsnyai, part two
Producing Organization
Cleveland Public Schools
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-bn9x4j87
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Description
Episode Description
This program, the second of two parts, features an interview with Zoltan Rozsnyai, conductor, founder of the Philharmonic Hungarica in Vienna; musical director and conductor of the Cleveland Philharmonic Orchestra.
Other Description
This series features interviews with outstanding scholars from various fields.
Date
1968-01-15
Topics
Music
Media type
Sound
Duration
00:14:58
Embed Code
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Credits
Interviewee: Rozsnyai, Zolta_n, 1926-1990
Interviewer: Evans, Cecilia
Producing Organization: Cleveland Public Schools
AAPB Contributor Holdings
University of Maryland
Identifier: 68-2-7 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:15:01
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Visiting scholars; Zoltan Rozsnyai, part two,” 1968-01-15, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed October 23, 2021, http://americanarchive.org/catalog/cpb-aacip-500-bn9x4j87.
MLA: “Visiting scholars; Zoltan Rozsnyai, part two.” 1968-01-15. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. October 23, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-bn9x4j87>.
APA: Visiting scholars; Zoltan Rozsnyai, 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-bn9x4j87