A conversation with...; Eifred Eckart-Hansen
Conversation with I Fred Eckert Hanson. 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. Today they are joined by the American composer Alan stout. The guest on today's program is the music director of the Tivoli Symphony Orchestra of Copenhagen. I Fred Eckert Hanson Now here is Aaron Parsons. Mr. Big and handsome as music director to believe conductor of the symphony orchestra during the past eight years. Could you describe for us
some of your activities. Yes. You see today guidances had any play in the town of Copenhagen doing this four and a half million people you know they did last concert hall of the two seats in this concert hall concert. Some of this concept I conduct and some of our concepts our guest conduct us and of course we have a guest on Sandra's last mission was enough you know morning feel Lamonica and some things and then die must make the song for soloists and guest conduct us. How long has your season 4 1/2 months on. Yes and it's a concert. Daily daily. How many of these concerts are you directly responsible for joining us the song I conduct I believe. About 55 60 got
sick tonight. But you must see so I am very busy in the season but in the end I have a very good time and she really has you have a double role as conductor of the orchestra and also as music director of the US two years music director of the gardens. To make a soloist and some sings and of course we have also to our orchestras in the garden but there are too many good conductors for this orchestra at this is this is very she sings. I must say this August us two other orchestras. Yes you know I've been there. Promenade OK start a concert band and start in the hall of the symphony orchestra joining the C song about 100 or so I see play us and see what I got. Yes well it's quite an extensive music program that alum stuff out
of the faculty of Northwestern University and a young American composer of distinction has some personal knowledge of the activities musically in Copenhagen and I believe you said Alan that this new concert hall to which my story is referred to was not there when you left. No you see I have not been in Denmark since 1955 and I think this concert whole story was about. Seven fifty six fifty six yes. And. Most of the concerts in Copenhagen those days were held in the odd fellow powerless. Oh yes. Outside of the radio concerts which were held in the radio House. So this actually gives Copenhagen I find new concert hall which currently has a very good acoustics. Yes. Do you play for the radio. Yes. Before I wasn't too early I was conduct an opera. I have only been a guest conductor in radio. Your programs are not regularly broadcast. Yeah. Yes
or they are regular Yes. You see the most after activities in Selma and to go to all your concerts and to really and some of them because the audience know origins the on off and up in your house. Jones I want so many concerts with that any site you know OK stuff you know concert or what sort of repertoire you play at these concerts. This is a bit different you know late symphony. With I to. Motown yosi. And we have some earnings. Mall seek U.S. answers one hour concert. Half an hour intermission and monarchs consent to contests. Fast cars set alight on set can
watch your bias appear by straw. Shriek by it and some sings but the second consonant is a great art piece. Symphony ritual and symphony by bonds. Or saw a symphony by buying you know the difference between those concepts. But you must understand most of all concerts without paying. If you pay 40 cents to that you would have gotten your going to the concert hall to the Most US without paying. You know it's possible because the garden's I told you the very last garden in downtown. Oh and I thought it was city hall or
23. And this waste of angst is fun the lowest price to the highest price. Many amusements for and all do so lest wrongs and amusements pays for the culture. They must tell you into a garden or associate often had to mime and palate and your kind going into the seat of the lopping this is no connection and with a new kind of state subsidy there's no apply at. But the clone is the city of Copenhagen's. And you can't. What kind of us must not get mall and 10 ports and. All those monies I was going to college and new houses for a lot of problems. Yes all right. Business people yesterday weren't you know smart is limited
to 10 percent anything above us is put back in for cultural purposes. Yes that's a remarkable arrangement how did this come about. Stuart Hanson this is an unusual situation yes. You know how it came about. This is foundation. You know in the garden this is very law this is only if this is not one million dollars and a great fact release this capital the factories from the greatest factories was founded after a very great man. He has a son but just ONE has not yet done. Yes and this factory has a cap of capital left to it. I think we should play this program in the wall. I'm curious to know something about your orchestras constituted no
players from the Royal orchestra and also from the Radio Orchestra in the orchestra. Ne no not now. Now what can I say you know we saw parts for the orchestra. The orchestra plays for the city and the south points of Ceylon and for this activity is pace cities and I'm doing the song peo ple. I see you and us time in court and it was only ok still. That's right but a lot of players came from oh yes I know it. But this time or no. All states. Yes this orchestra of honest and what's it called now in the winter time accompanying Symphony Orchestra. Will this provides for these musicians the kind of year
round employment that American orchestras very rapidly are coming to. They're occupied of actively in the summer and I have complete winter season as well. Yes let's read about it now. You see the fall this time of adequate plop him to school. Young chance come for the kinds of a toy and plate and all his stuff and was a very fine orchestra players and to get this. But this is now an art and I just have to after your voice and data my it all far. August I was also in the province. So whose orchestra is no full time or NO NO NO Also no symphony orchestra. And you have the same money you should play and I always enjoy playing on the same scale. Yes because when I was when I was there I think the only two orchestras that had your
time here year round employment were the radio and the Rye or orchestra Yes yes. But now I go out on 8 August US government from government and cities. Do you also conduct for the opera. Mr pronounce it before I vas conductor and I have been taught many of us I must tell you I like. All my holiday so I take in great cities glade ABA houses that my poor wife my favorite night going to are but I must tell you one thing we have already famous ballad about. I feel quite dark and then of a house you must also conduct ballads in Denmark you must I hate it I hate it. You must always play music not in color like you seemed a little too slowly allegiance to fast and early night can't come East
to night. So slowly. I hit docs about it. I remember when I did the Balanchine Symphony in C and it was so slow you couldn't you couldn't do the steps to the proper speed of the music. So you see when I come to theory I told you Oh that's very good if you want to try and conduct of August of next Tuesday you must conduct like a letter you can't take it. But here you are Phi seven rounds. You say you have 130 musicians in TV now. What is the normal strength of the symphony orchestra and if you do a very special concert do you draw on these extra musicians you know if you hire people from outside in concept who are 70 70 and sometimes to just some for New York country as we get more you get these from the other people really or no
no no I say yes. You're doing Wagner a book now. Yes you are yes and you know now that you know yeah I like rock and I know I conduct many peace and I think the only person in Denmark when I was there who love broker was you don't ask Oh yes I know. Yes but you say you know if you were yes after the vote yes and they were still traveling you know and all our play sions played down and told us about it and you did mention a moment ago that you love Mahler you know and that you perform Mahler symphonies. Yes. This too is part of the Tivoli program. Is all supportive. I told you we have our late
symphony concerts continue and symphony concerts we have I want to bring up on among you know a serious serious Yes and this is the greatest serious in Scandinavian 105 100 members of the US has us every fold and yet you can't play mana. Or saw. But not called ASH. But that still means something. Do you find that there is audience resistance to the programming of modern music. Now I should preface that I should have prefaced that question with a statement that we have heard from other conductors a wide variety of little tricks which are used to insert modern
music in their programming at those places where it is most likely to be accepted. One man told us as a matter of fact he's a fellow Scandinavian of yours told us that he likes to put it right in the middle of a very interesting programme. Yes so that he says it's a dirty trick but they're caught. They have to be there because they want to hear the first thing I said and they won't leave because they want to hear. Does one do this kind of Denmark. Please I know it I have put it I have put it on the meter and I have put it in the last. If you play exactly much off today nobody will come. I would prefer to play it a concept only when you're down and play is concerned. For this people like this.
You see if you played a Mossad symphony thought down you'll see. And after all intermission you can play bombs and see if you're now Mossad and Jalal bombs you don't can see. Many young people don't log out of their own law bombs. I would prefer it make and secularly down program make everybody. What can I see in the newspaper and radio and give all in from ancient informations about this program and then build in Copenhagen about 100 top 150 audience that few here. But it is interesting that you suggest the idea of doing it that way because it's being done permanently in other places in Europe with varying degrees of success I guess. No howling success anywhere but the idea of isolating
programs of new music for those who do really wish to hear it. There apparently has taken hold here and has real merit I would think. What of the young Danish composers these days. We in this country of course. Are only now really catching up with with Carl Neil something in 1952 when the Danish National Orchestra toured this country it seemed to some of us who had been very interested in the music of Nielsen that at long last he had arrived here and that hope was premature. But now it particularly through representation on recordings and far more frequent performance in our concert hall I think it can be said wouldn't you agree. Alan Aarons that Nielsen is here. Yes but we don't hear much about the younger Danes today's
Danes let us say. What is the state of composition of that. We have many I believe very good conversations and day to mock you know some awesome bands and yes all and many of us because our education is studies as he goes on to the top. BI Do you see this is only up happening. It is sinks but if you how I've had a great talent for composition and you know the government would pay all these things far. But eight orchestras and data from the government paid for but not not for playing the danged music. You see if you if you make many great music nobody even a plate. You mean there is not the opportunity for performance. Yes yes people who yes I do. Yes it's very difficult for the films. But thus on things
I told you us I make. I would fell make concepts only me. And it only in to what he got and I make one contacts with new music of today. I have. May read groupies. And of course sometimes I say Ah yes but I also quote Peter's pieces. These programs that you do once you know their music by Danish composers you know I make it so I make it a problem for Danish composer and then I take composers for the U.S.. Last year was a nice street it's almost Danish telly. I conduct Danish CORNISH And so I make
it when we can hear what we can hear you spoke of the education of young composers. Yes and I got the impression that there is available. A rather substantial scholarship program. Yeah. Financed by the government. Yes. Just if there is no opportunity for performance after they have run. I wonder why there is any incentive for them to avail themselves of these opportunities are they performed elsewhere in the Scandinavian countries perhaps or in Western Europe. Or is this a complete frustration of the effort for them to perhaps many really orchestras come into the picture here. Yes. Your case to make. Many off today but I
believe we are in this time. What can I say in the timing with it. Well all because all come post US has come post was seeking advice completely on able to to to play and now we come back. They can make many things in correlation and all sinks and no scenes but. Sometimes it does not surprise people to play it. When one gets the impression therefore that the orchestra or the orchestras have to play to audiences of very conservative taste. Middle Europe I suppose this still is very true. And it does make problems for you and for us. You were probably follow him you actually know a lot of the young Danish composers write chamber music because there is a very active. Yes you know.
Yes I got it yes and I know that there are in groups like the Danish quite hat you see it is also a proper name in my phone us mercy if you are or has a father and or get off of it. You must make some concepts. You can say. We take one Amman's And then this month's we own the technique or sings about about the music today. Copenhagen Symphony Orchestra the 26 cities. Will have concept. And you can take a month and say Now we do based on no concepts in the suburbs of Copenhagen and them and this is not and the same problem you have in radio you see we have great trade your pistol in 100 most nations.
But you must play so many hours doing a week in the way. This is also a proper name when you're only 0 6 when I make this country into the heart of it and you'll know what music we play and play it in for in 14 nights. Well. We know this program we have played before of course s but with the amount of music gear required to produce that we have three programs in one evening. Great Scott this is another one of the players and it was the best sight reading experience you ever had in his life. Yeah it's not where he learned to side all morning s s. Well you know when Nielsen first began to be played here in the late 40s there was an occasional performance and all we'd get such things as the wind quintet and some brave saw would
do one of the symphonies. There was a newness to the sound of Nielsen. Yet there is about Nielsen's music. A warm familiarity even at its very newest. And perhaps this more than anything else is about the audience reaction. What we've been talking about because in spite of the fact that it's new it still is old and it's comfortable there. What is your instrument to Mr. JOHNSON. I began with a man I've us all and play Tom trade in. And then after I played piano and when I was 14 new US all of us conduct of this bar forgotten and then I began to play it. She thought that my parents say no not machines. All of those things but not
machines. And then I say that's cool. And I I get off school and my parents. Are. Not happy. And then I came in a new school. And I get off there and my parents find out I have it. So when I was 18 years old I have I have us. I have to take all my money from Newsweek on 8 Yes or and then I play it in the West alone. And then I started your own Sara and piano. Needle after leaving the field I must. Wear a doctor and get to the wild Academy of Music and take started in on the story. Was she only conducting.
You decided you wanted to be a conductor to the conservatory. Yes what was it led you to make this decision. I don't know. I told you I think conductors by Scott and when I was 14 years old I feel I must. You see if you play that and then orchestral. And you play so many think it's not cool I'm really not awkward. I feel I must say one or the attorney to the machines. And then I came to the I me and Tucker start to stare and I just talk of any. Fine diploma you and you and you do consider it a no no. I was 25. I was going 70 before before I sink. You're see
my ass was young and one day I feel I must conduct and they I feel I must cheer at least. And then you see they are saying I must be composed and and so I'm saying you have been marked in musical activity in an age of 25 when you do have to do formal studies at the conservatory. Do you think one decides to become a conductor or do you think there is something within a person would simply makes him a conductor. Yes. If you would conduct you must have exactly the same some of the options you can only take mostly to your hearts. You must take will seek to hit on two hearts. Issue tickets. Just two pints you
can see you can also not only will your heart's blood if you don't have you hate then you know you can't hear or sings. In the U.S. This is the same conducting You must have a seat and young conducting conductor with very clay hearts and a really quiet temper among. But he has not of any clay Cantarell in in the heat. Are you can't can't only conduct Nusi as you allow on your seat but you must have one target. Who did you lose control. It's not you know I don't want this control it and the consolatory after comes of us or the government give me money to start. You tell me. And then I was and you tellin Scott why in Milan and I was put off victor at the south that's where they are I land.
Scott how did he about to Gina's all go home. We took this advice advice. Yeah what can I say. Explosion or if it was you already told me I have no talent. No it's hell and I couldn't be a good doctor without one and and some things but. I feel he laugh may have because I was half and he saw us going but I must tell you in this half hour I sleep slept. Very few hours every night because every lessons was beginning some funny and £75 something if I put it on as a classical magic symphony and then he sold me place.
Pates one hundred two and give me a paper of your hate and you'll give me the table right now. Yes or sinks stock has a leak at 2 x 4s floor. He couldn't eat all. I hope I have he had a week to decide. By hostile you know the Debussy spill yes I mean the sound is a very difficult score he make all I heard was loud. Popular yes and it was fantastic. The control also gesture and yes I was in the knowledge of the score and it's a very small generators and that type of thing. What about your work with my Cambridge. Yes after I vas to working with Mike he was 55. It was a very interesting interesting because I must tell you I
don't like Mike and he told like me and I. I was. Young and I feel that I have some things I have been peopled by by this have I said. And I'm also sad and you know about Blomstedt is really just going to the really work. Yes and you know a lot of lobster was number one and I was number two. And before the last concerts. Lucky she gives 90 points and after that I Herschel and I attain points and I thought I had it and then I get off. But I must say Yes your stuff. In my book. I mean many things like Evie says toward me I don't understand sings exactly when I was there but a little after later in in my walking
I have taken me in many scenes from Mikey. You're listening to a conversation with my Fred Eckert handsome with their own Parsons Allen stout George Stone. We pause 10 seconds for a station identification. Now resuming the conversation with my friend Eckerd Hanson here is George St.. How did teaching methods of those two men compare to somebody my age. Oh yes quite different quite different quite different undersea advice. I believe each of us to I think that this habitat is the same as I was if you 55 early took it to mark after it happened. Where did you work with Markovitch and worse classes in the class and
the same classes. Yes about 50 shielded us but you know little after leaving only five Sikhs and before long. Just all in what way did they differ most from your point of view as the pupil. Decided it was able to communicate with you apparently yes. As I understand the Markovitch was not at at a later point in time. You now look back upon your experience with Markovitch and you appreciate that you did learn some things even though you didn't think at the time you were. But from disability you apparently had a line of communication that we're functioning. Yes what was was his approach. That was more accessible to you. You know August us in July. And you know and very much difference in to playing in this orchestra. If you're here you're here.
The strengths of the Vienna Philharmonic and you hear this things fall. Scott while I must give lines for these things and you see you must also some conduct off toward the slings and the needle off the pool and spits and flush. And our things and. You make very much difference in the music in this small voicings. The difference between sabotage and. And lucky piece was this small extinction to small soon make the sound and make it. I feel you must play in the meeting on Saturday. No no and you see a little there you have some things and you're hit before you. What opportunity to actually practice on the conductor's instrument orchestra. Yes did you have
in Milan. Was that with the. Scala workers know it was for the cunt of a toy. I just have been bad because of its oil. Something that the maestro decided I said to you brings up another question in my mind and when I say turning to page 100 to you Never mind. And now here's the score paper write it out. What was his feeling about. Students conducting from memory. Did he encourage this or discourage this. He only knows conducting from the family. Only. Well this is the way he preferred. Yes yes just limit his repertory at all. Yes he only found out from memory and they don't know things you must learn to scrawl genius and all things in the school.
Do you. Do you follow this practice yourself. Yes I my father's practice but you see sometimes I can't learn it because I lost so much to do. If you were a squaw you know you can't only look on the middle to the team and to see now the House team and now that you must also know on the whole of this cause and it really takes time. You see this take. Beethoven symphonies. He's one years ago. Can doctors be tons of money. You don't really know what I mean by Exactly and stats on this piece I like got to and then the most beginning. It's going quickly up but you must give him a time to learn his call. I prefer it but. Sometimes I must take a school sometimes conducting position.
My first conducting position in Indiana Mike was in this time. Chum barky star for our young players and after my degree I was a conductor for the champ obvious stuff for young players. I was in two to three seasons and then I came to like August and Danish I'd jump and conduct over to us by be mad or sad be tall and reach by ball by stars and some things and after that I came to a lot of dogs and that's who fell in love with ballet. Have the two are very closely tied together there. If you're going to conduct for the opera you also are going to conduct the ballet.
Yes well you know Erwin Hoffman of the Chicago Symphony looks back up on a period of ballet conducting as having been marvelous training for one reason only. As they made this transcontinental tour they would play one night in a house in which there was a huge stage and the music had to be slowed down to enable them to execute the various movements they were making. The next night they might be in a small town with a very small theater and everything was very fast you know. He thought it was wonderful discipline. Yeah but I can see how you know you don't care for this kind of fluctuation to meet the needs of the moment it would end up setting. I wanted to find out. What opera literature did you handled during that time you were conducting there. It was those Italian
German Danish just one minute but. The kindest I have conducted to stand. There so nice for the ballot and I must also tell you I like also Bette. He has really if you if you think about the clay just scene by bad he fought and fought at the awful and we call it don't Gar last table and you will and you will I mean. Not one office seems exceptionally the same installment to this already knew his make only new follow it up in the middle of the many. Sweet sayings about the Italian music. But but you
must only value most only a member of the melodies. You must also her where we have these instrumental shown from the August Van Dijk late I've been in. Does not affection carry over to me. Yes yes but on a different level. Yeah yeah. If I did I would know a Mozart. Value. And of course like I start I shall study. Yes really. Yes and we have the sound of my son and I and Electra. I should have thought Rosenkavalier would be the one that would have almost no usually. Yes it was I mean I know conduct was an idea but. What about the Danish operatic repertory Sauer and David and escalate and
I pass for you know by heist and Hartman and the new price that I made a few. But in combination has contacted the Danish companies us composers for a new Of Mice. What about the scandal. Yes yes. What's it called labyrinth us. What what's the number opera call I can't. Oh I'll let you know Larry I think each of us can dad scramble another in newspaper and scan for the audience. But unless things sings voice or it's not from the Swedish newspaper and all is from the Swedish newspaper offices. Yes. Late fees.
Yes yes yes. I don't feel sick and. You do not know. But and all of our I don't like his Bapak Bapak he's going to send me the score. I know He hears. I feel there but not in Lebanon. But all of this. What can I see. Question You want to hear. You will she ante songs you were quality it was they were all sings in the same time. He wrote one one very amusing article for what is it going to hold John McCartney as a comp as a composer and that will assist in the Beatles music so this is the source of the scandal.
No I wondered if part of not well I didn't mean you specifically know the Beatles but it was musical rather than I think a lot and I think it was that the collage superimposition of styles that that upset all the Danish people and had something that he wanted to bring up and I'm afraid we've stepped on it about two or three times. I did want to ask you Mr. Henson about the opportunities for music study in Denmark. Yes. During the last years after we take this symphony orchestras go on Miles. We have that conservatory. You know we are in bed and you can say only five million people and we have a very high taxed but we should pay tax to help pay for things you don't pay for our you don't pay for university you don't pay for
high school our conservatory are very good. After the deal and can't tell you they mine. So it's possible. Before you you must make. I've rehearsed. You sure can play and as you are composer you must make a composition and if you can't get to the kinds of a toy and you can't get there without being five six yes. And if you are very coarse and you have any nice quintic money to take started in our country. You use a mic rehearsal an audition before judges. Yes you must play it you must play far Falder puff a sauce. You must hail. Yeah. Yes. Of accomplishment
by just starting this before kind of a toy. Are private so much pain for starters. But if you're going quite to look once at a time you disallow pain. Is music a very active part of the curriculum for children before they are ready to go to college in the schools of the country. Yes you see in the last 18 years the government has a nation with a culture than the piece many money the cult Yes but own only a loan from you will see a lot of pain and things but I feel the how in our schools. Not all education far cotch
us but I hope we become didn't bite. Do you think Sweden is better. Yes sweetness but yes. And he American better. I was here in 66 and I voice my use in clear view and advice and high school in plain view and that are so many orchestras and choir and all are seen as a very fine. It varies greatly from one part of the country to the other. Yes from nothing absolutely nothing to very great opportunities. Yes it's very uneven. Anything that's happened though is the number of young Danish composers and even some of the older composers like Han both have written works for school use. Yes and Yes and I think we even have a certain amount of success. Yes like well. No go here I know that yes as a very good piece. Yes but you see in my hefting you know hurting her fin you
know saying yes. Yeah he has also written for schools and dogs things. It was you. Yes yes in theory yeah yeah yeah. Have you done any composition. No. Oh only for starters. Yes. I feel like I got most of the people who study music in Denmark do so in music education. Yes again I think their problem is jointly with University of Copenhagen in the world conservatory. Yes because I know that they might not even took the courses in history at Yale University. Yes but now the new seeks to take what music stars and university of almost. Yes I did a very good question coming up here more and more and I'm glad that it got kind of a thought I mean always yes. Between teach us between our house and Copenhagen and you only must educate 12 hours a week.
You mean as a private instructor and I own it but it fell out of Rick. You have time to playing. If you teach and teach you can playing now no time to exercise yourself. Problem. Yes and they teach only 12 hours it's only 12 hours a week and if you're a university professor teaching lecture courses it's even less than that. It's generally about two hours a week I sometimes hear yes. Mr. Hanson you're in the United States at the moment to know guest conduct and I understand that you have conducted widely in Europe. Do you enjoy guest conducting as a kind of mental refreshment. Do you feel that it's good to get away from your own orchestra once in a while and renew your outlook by playing with other musicians. Yes you see I told you my own all his talk as
I sing about the fact our government and city and the body I played this August I told to many of us during this hour. And I must tell you I joined the bin I played soccer as a ventilator. You must have guessed contact us to play with some guest contact us. While we are the Mets with the strengths and some with the songs and some very great hearts and and our contact us play slowly and our conductors place quickly and if you want to play us and you with the same conductor. Yup I played dos are fun when you had your couldn't play it. You must have been the same and you know the Mona Lisa had a great
picture but you couldn't go in every day to to look at the Mona Lisa. You must also look sings if you know I say there is a fine conductor. I know exactly when my orchestra play. If I asked standing with my back to the last of us and one of this violence say and I'll and I'll know it's I can't exactly which man it was but because I know the sounds fall for every player. If you how could Dr luckiest a four and a half miles for 60 concerts and you know us and you you will know all sings of all to taste. And this is the really good fun conductor to conduct on August and you will only learn some things about about that technique.
You see some things about what vines you record out some sings about. You can learn some breathing. Yes. And you're here. So I'm saying that a good cause I need play at the moment to play but you do for yourself. And when he can't he can't play stick cattle. If you are coming to an artist of a client it he has not so so wonderful sound but he can play stakeout and you must take inspiration fun fun fun. It is wonderful to play or is always a wonderful father orchestra with oil conductors which orchestras have you particularly enjoyed working with for one reason or another.
The two. Best conduct orchestras I had went dark fast I must see you know why I took his time and he said hey this is for me. Fantastic technique you know it's not so beautiful song and I really hate it. But the technique is so fabulous acting and if you have an orchestra with collet technique you have a lot of time to make music with and. You know take the problem you must do that a lot of time to make music and the artists advice is hired for the money. In the past by adding up the bass 8 elite us far more patient August concert meister. Yeah concert last night. Yes. Fantastic orchestra but it was OK to start you see. I was also a problem with the theatre. You see you have to France hard fought frankly and to
France on one Germany is different I'm pushing both Germany and off on Poland and something but it is basically we had a great day. I have wondered when I've heard of the many former principal players and that great number of kinds of masters and so on. If there has ever been any difficulty there in achieving true ensemble getting these leaders to subject their individuality to the will of the conductor and the principal you know do you think this has been a problem. Yes if it can it can we are prompting I must tell you by thinks more are brought about. Consarn asked us this concept master you know
how in my orchestra this guy shot his own guys. He is the best concert master I have had in my life in close you know money and all those things I never had a concept not to be feel like I'm 56 and I know he has only been in three years. I say yes he can. Perhaps you know him like Saxon's God yes he was concertmaster before us and then he can be talking from Sweden. I see. What's his name and hometown. Guy from fifty six hundred has provided the world with a goodly number since the present choirmaster the radio under Ian. Oh yes yes it does although you know him. Yes yes. Thomas Thomas Yes yes. What are your plans for the future.
Yes. Are you looking beyond the present. Arrangement which has you responsible not only for this great number of concerts in Tivoli But also I think has to do something with supervision of bands and many other things. It seems you're you are very deeply committed to a number of musical assignments that do you feel that this will in time wear and that you will wish to change your kind of work or your place of work. I sing so I. Don't change my place ever. Because in years a year I have been in the theatre guidance. I have made so many things for the concert hall and replace it for a night and now we only played five nights a week and then I told you I have to try doing that
and I can guest conduct and I can type. I like to hear he on that music. It's also my hobby and I like to go into concerts or hear. Or are contact us and chat about and all quiet. I have you also on our job in Copenhagen now and also conduct I found out how many I conduct the kings palaces as on all our King's parties are beginning with the concepts we create and all the qualities and after the concert the potty. But you asked me about if she would chew up the concept phone call actually today I don't know I feel the. Concept fall. I must say beginning. With the concepts of. Young Persons.
And show these young persons if you can and is persons. Studying the talk. Sure I've been Bell I feel good after this Parsons also understand music of today. If you I mean both from years ago few people like starving and it was and was seeking something but today they like it. Could you make two contests in the night. The first concert you can make only use was chic and young people. And then to go and Megan off. By bombs and some seemed to Audience been denied to her concepts and. But I don't know I don't know but I know well about this concert hall. It's very interesting you know it seems it will keep you very busy because I don't know what you
- A conversation with...
- Eifred Eckart-Hansen
- 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
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...; Eifred Eckart-Hansen,” 1969-01-24, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 26, 2021, http://americanarchive.org/catalog/cpb-aacip-500-xg9f968b.
- MLA: “A conversation with...; Eifred Eckart-Hansen.” 1969-01-24. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 26, 2021. <http://americanarchive.org/catalog/cpb-aacip-500-xg9f968b>.
- APA: A conversation with...; Eifred Eckart-Hansen. 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-xg9f968b