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But I thought that I had a nice try you have to repeat six or seven times in the same. And that was a little more difficult than I did I say that be ok I thought I was using tired after six to four five days. First performance was starting to get a full tie so you know conduct our house to make it a great effort to make those people really believing know while they were doing and that the hours asking a lot to a conductor to bring the same enthusiasm yes you know into the performance was a first. If you for instance require the precision that's all right everybody that can't be lost because we truly can be feeling you know a warm feeling all the romantic where the spine and the warmth of the government get down a little by later by routine you
know by less attention and that is in making your recordings. You have something of a similar or similar kind of steadiness. Except there you have no audience. What is the reaction of yourself in the orchestra's reaction when you are recording. In other words when you step out on stage at Orchestra Hall here is an audience comprised of some people who are there regularly some people who may never have been there before and there is a challenge because this is it. We play it right and now it's gone forever. With recording there is always the possibility to redo something if it doesn't please you. And there's this. The effect upon you when you forgive me for jumping in on you everything must be magic and that we have.
You would deprive an order to get there not make it perish and I thought back then that we have all of the same problem we are in front of the audience and we play one in front of these audience one where you and I would think we'd get one chance you know. We really we have rehearsed we know where things can go right if anything. Meeting does not matter nobody will be upset. Your general realigned and the contraction off were can be very easily because everybody we play for just the time when you play for equality you know that little mistake you have to stop and so all the musician worried about with their playing that maybe sometime more concentrated but that does not bring something better at the contrary instead of to be
read you know to feel happy. Contracted with a conductor and if we have a little trouble we want with one instrument we are nearly sure that the second time we are going down another one. Sometime you want to stop and say what it is leave it for later. Specially in piece of the solo in my experience of you know recording session I have a lot. Saw the trouble with one or once already all we one section we suddenly was so anxious to play that we could not play anymore so you have to make them very relaxing. By that you don't relax their conductor has to be. Psychologists say that the soft stuff inside it sometimes upsets the performance so you may get a marvelous performance.
Technically speaking you know each period each meeting saw my first preoccupation when I read these to try to forget that and they had to say no or let this play. We just let us forget about the makeover. It's not true we cannot forget because the microphone doesn't want to be careful or the companion piece to lie when he I cannot hear the clarionet So 80000 Beatles who I think even you do just to get your inspiration and goes on. It's a little game you know in in between these fight for death action in the detailers and to keep a beautiful record. Now you know we stop there I thought some time and then we said now we never got only a little piece you know to add to make the aftermath absolutely perfect and so it brings another problem the problem of same temple problem
or same feeling you know and I mean it's quite tricky. We should think it would be. But I understand that there are some conductors who preferred to do short stretches of the music at a time. I can't conceive of why there should be a way that people know the kind of the where you know if for instance you were caught eating cake a few I think you have don't believe you can buy it and I don't see how you know you must be where all of the moment to gays and then even necessary you may do anything. But you have to play are you really from the beginning. It would be nice if you do. Maybe the Rite of Spring in more than one week recount required more precision. So in that case you may do more peace or together. You're listening to a conversation with John Martino with Alan Parsons and you want to know. We pause Pen's ACMs for station identification.
Here again is Georgetown. How do you feel about records yourself. I mean do you enjoy listening to recordings. Oh yes I love to make things and I recordings and you know there are you bring to you a lot of ideas about with the way that this town has been taken or about you just I love the conductor. I think it's very interesting. I have a great many recordings that you made to a number of years ago but you've done so many things since then but I wonder if you were to listen to some of your older recordings if you would be very critical of them if you would feel that your ideas have changed markedly since then.
Yes and for certain I caught it. I haven't done in the past I wish to do again. My experience has set in and I have another approach and we must see or feel that the recording is something that he and I don't do for what reason and but that you haven't seen that will come back to report I was already not is that the reason comes out from Iraq is never exactly what you have done. I mean it didn't I gave the same impression. For instance beauty disappear when you play if you feel a sad and painful and you have control of the temple very precisely with great care and you seem to
be absolutely the right temple in the concert hall and when you put wood that can be seen too far thought to show up early in the case. And that's true for my own cause and that is why you should match report of my colleagues when I say well that's not the right employees to Fuzzy's store while you me they are retired and do so much for you since you retire then do we test Sidney's routinely log for comes at some time. Too much oil quoting If you want to make an effect of slowing down in the same place Bush lied because that is my mouth that makes the ration because the presence of the people in you know the attention of the people and will be able to see the sound come directly to you and you can so that when the thimble. And you get something still more impressive and you put that in there or go out and you may get a clue you have no
impression you have judging but I like you just to show me something of the hall at home musical motion. Yes you know that is why when you record you must have magical control and you cannot be completely free because of that because that now we know he likes we lay a plan to the people be more time for the people to sane you know that's maybe to underscore but reported to me made of that really record and it has to sell the same we have the same there's no extreme if you got the weirdest kind of scene you know points and used up you know needs a number for any country if you're a religious if I make it. In fact immediately you know big time and that's if you do exactly the same way for of course you will hear it and it happens with us.
You can believe you know Russian because of the difference between a living room a concert hall that is why we need a lot of time when when we record and this time we have never been because we have NEVER time enough to listen what we do. Being in your house time but the contact. We're not you know Claudia you know right and that is always easier when the section you know that you act in hi jacking a fraction too fast and that it's lost in the course of a hundred million would be who would be paid for your period of listening is going to determine the way the money and you know it but let's get back to something you said before which prompts me to ask what may seem to you to be a rather naive question as you are conducting. Obviously you have you have your back to the audience so you can you can see what audience reaction is. Can you feel audience really.
Yes very much but that is something I have erupt at the Big enough and I think I think these it with my contact and my office shortly. But now. I have developed this magnetism to give to the musician and I get I have found that when I was in Japanese and you are interested they will tell you what we do and where I am also with my own plan. Why do you think the August off thing and why would the public think all what the public see if everybody's going on with me or just you know if they don't catch my message. Now I can say I am rarely mistaken that I'm supposed to reduce it to simplest terms
would be compounded of many things but one of the elements certainly would be fidgeting. I'm not going to where you let the morally perceptible evidences you know you let us not when you feel again for you will have to pay for it. The town that he loves you because wait for you. And you started with that much and you feel so much comfort and it's marvelous to play in front of friends and it's very difficult to play in front of all stupid people. And there is no example of who has not seemed to care one or two plays where he has problems. Difficulty is not I am talking if it is with the public created something by critics but anyway difficulty that you fear. And if you don't away the place where you play the lead the good. If he is obvious that he thought
finality to all the police you know then be at peace. The greatest moment in front of a lot of guns we don't react anywhere. Sometime it is only a quarter miss from the audience top be intemperate that the play had to be moderately free at the cutlery the warmth of an audience in the media of the audience had a live music making music making is a reciprocal activity and moves very differently and you know sleep is almost like electricity. Sometimes it develops during the course of the play or composition sometimes it's it's right from the start. Now the Nielson going back to last fall from the minute you begin Thursday night. You know people look from one to another in the hall. There was an electric charge and this
was one of the most thrilling experience of those I would ever have in a concert hall and it was a hell of a ride to the to the very last note. And then there was that significant momentary hush and then bedlam of course but it it finally you get to the place where you're sitting there the audience as a member of the audience here you find that you're not even breathing regularly you know who's who and when. When there is this kind of atmosphere I should say I should think that it would just come and beams up to the to the players and to you and I think that you just kind of like the perfect example when you talk and feel everybody you know or that you can next cycle. Exciting. That he's talking excitement away and we had an exciting life. But there is no surprise.
Oh the PFA must be modelers. But you know in advance what is going on. So the exultation of the nukes he's already already like for not going into a routine even in the past when I see something. When you play for the same more than a month and they don't know but they are very exciting with more than but we still cannot catch at the hearing something even beautiful but that the reaction of the to protect themselves. They don't want to go in there were they. They cannot there cannot be the only we need to hear several times of peace before catching the message of the couple and then start to enjoy it and then start to be excited. So there are sort of reactions from all your audience.
You know even your PC is good and the message to me to reach the goal is to make an impact but in the case of musicians who think the message is simple I mean to say Elaine we have already used language is common to everybody. There is no surprise in the way that the message is presented but the web is new and startling new and discovery get the message immediately because really the comports perfectly aware from the first not to the last one. If you're a masterpiece and there is no problem for the audience and that is why from the first hearing of a symphony like meat to day 1967 it makes an impact was really true.
What can be done so far. Getting audiences to the same kind of audience you're mentioning here to be to open their ear as I say to stretch their ears to a new work that is a little more advanced than Nielsen. For these I am very sorry to be obliged to speak about the credit in the public education of the three we have to sot of public today I think in a very big center we have the public becomes a. Family and by the family there is not foreign to anything. Nothing new it's like the people who want a certain sort
of thinking they don't want another one. We don't run so they need to have the Japanese cooking Indian one they are expecting to have something they know to be terribly common. Do we hear the music you know and that would be first off for me several other kind of music and that they have to hear it and for the ONLY for the instruction. I mean you don't want one. You know we can say they are not. Maybe even if they are not ready to understand that will be already knowing but that's not enough. We don't we don't need to know that the general public about which everywhere especially for association. No really we have no big musical center more than a week
by contradiction or in any way the modern reality. Those I'm not interested to hear Brahms more like now anything that they were better read or even hear who said Australians in them if they just want something. Absolutely and these proud these all these kind of music have on Godey's not any kind of any so I don't want to hear or learn right of their use of these merely sometime he's not a musician a musical one. But you know you can in theory create public. A big state parish and between those two and you think I will mixed up Eddie B. You know you have tracked the audience I played Tchaikovsky but then I will play a play piece by modern composers and I may see a shape
that people would like to have don't count because they Tchaikovsky by their side and always learn. Well certainly we can see that that would be a problem. But you know Mr. Martin we have led you away from from radar from what you were going to tell us about your experience in Japan. Would you go back to the first time I went to tap and I was engaged by the in its treatment come and be as a skater. And I started your thread with a notice I did not think it was a friend or a dog language I know to say you're not I'm Japanese. I would not say that to only to introduce my brother but I was lucky to not be a very kind of you
and at the beginning of the Japanese seem to be treated with expression. I hadn't really lost in the middle of the song trying to explain what I wanted to do to co-write. We have no common language. By the beginning I try to speak a good English where one of the two was illegal in me but that was possible to both on the court action but when we were talking about music it's about the expression of the tide about the feeling about the way to produce a sound project the sound. We have no language no common name no way of communication and I have all of those
faces but I thought it was he saw the world between me and then. And of course that worried me very much and all the time I was when I was alone thinking of these. And I was not very long from the second week I started to feel and I do speak I talked to Shane and you know I was just thinking of what I wanted and those people that I understood that they have that right at reading and read and I was surprised that they were doing what I wanted. But of course they were really willing you know they have no way of communication. So we were waiting for my thought. And very quickly I want to be able to trust me my way
without speaking without just yours without and you know that I did not have some gesture and something going some time you know. But anyway there are things each wasn't possible to do. And to explain it was catch my no verbalization No. And then after I started to think now of that very night catch me I'll mag catch you then. Because in a few weeks instead of how the Corps faces smiling I could see their eyes and I thought they saw a chance in a tree with the always smiling so that I will never know if I because I did not see them smiling at the beginning or you chant the way I look at them as being chanted But anyway they were people
and my contact was at this moment I try to catch the message from them and that I have a little more problem myself that to be a project project I projected very quickly what I wanted to get the message back. But it is a more difficult but I get a great deal of that section. In other words you are not a receiver as well as a transmitter. He is working in both directions to go to reduce the delightful story. How do you select contemporary composers. You you have a certain outlook you know all the variety of styles and contemporary music you know something of what the audience will accept must be very difficult when you have sent to us a number of pieces to choose from and we make a selection of things which
I don't think we tell you that more convention or going to one get easier to read. Very quickly you can see the composer drop what you are not yet interested on what is in the score. You just want to know that they compose a new disease and you would not believe the number of people don't know the right music but they have no knowledge you have no experience and they don't know the way to write for instance and they were weather right against the instruments. Or they don't you snuff all the pussy be the nice woman. Joe you make weekly selection then three men get the number of school you have to study it more to see. Inside where if you wear a beard and the last election where
you carried Mayfair to an audience then one saluted made a selection of all of the complex works used the process of learning it as a conductor. But then of teaching the orchestra. In a limited amount of rehearsal dinner this is a delimited today that nothing nothing we have to take into consideration when we definitely set a date to be play we have to think you and technique and practical things right we thought were possibility some time the stage is not big enough some time you treat cause you know 15 trumpets and you cannot provide them all a truly awful can only live no place to put the piano on top of the support he should and that is a thought on some specialty would cost you twenty minutes at a concert in between two halves of your character and you cannot you know said You are God now you have 20 minutes to read because we have to.
Series
A conversation with...
Episode
Jean Martinon, part two
Producing Organization
WEFM (Radio station : Chicago, Ill.)
Zenith Radio Corporation
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-f47gvq01
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-f47gvq01).
Description
This program, the second of two parts, features Jean Martinon, Music Director, Chicago Symphony Orchestra.
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.
Date
1967-11-21
Topics
Music
Media type
Sound
Duration
00:29:40
Embed Code
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Credits
Host: Parsons, Arrand
Host: Stone, George Steingoetter, 1920-
Interviewee: Martinon, Jean, 1910-1976
Producing Organization: WEFM (Radio station : Chicago, Ill.)
Producing Organization: Zenith Radio Corporation
AAPB Contributor Holdings
University of Maryland
Identifier: 67-49-3 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:19
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Citations
Chicago: “A conversation with...; Jean Martinon, part two,” 1967-11-21, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 21, 2021, http://americanarchive.org/catalog/cpb-aacip-500-f47gvq01.
MLA: “A conversation with...; Jean Martinon, part two.” 1967-11-21. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 21, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-f47gvq01>.
APA: A conversation with...; Jean Martinon, 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-f47gvq01