What makes great conductors so passionate?

by Gwen HERAT at SouthBank Centre, London

Easy, because they are all great, virtuostic and iconic. They are the cream from around the world gathered at the Royal Festival Hall, Queen Elizabeth Hall and the Purcell Room in SouthBank Centre, for the season. From the London Philharmonic Orchestra, I moved over to the Philharmonic Orchestra who are rehearsing to celebrate their 65th birthday concert.

Conductor of Virtuosity, Riccardo Muti plays Beethoven among others. He is the resident conductor of the Philharmonia Orchestra, at the Royal Festival Hall.

Though I am going to miss their performances, I had the luck to go deeper into the great breath of classical music performances made accessible to discuss and participate in an in-depth series with artists and conductors. It is here that I discovered what makes these conductors so passionate. It is in their blood, tied up in their spirits and emotions. Wandering through the spirit level I also discovered many up-and-coming new conductors.

This season, the Philharmonia Orchestra are playing Schubert, Schumann, Beethovan, Mozart, Rimsky-Koresakov, Dvorak among other Masters. The Orchestra is doing something very extraordinary by trying to touch our hearts and spirits by reaching us at these artistic discussions. To me it is such experience that I will remember these moments vividly.

Indefatigable, these great conductors are the driving force in music. A dazzling vision of heaven influenced by ecstatic orchestration and for anyone who thinks (like me) schoeenberg is frightening, will come as a huge surprise when he is performed. Written in luxuriant Romantic style, they are full of expressive melodies. This is a unique artistic ferment known as the International Classical Series and for a person like me who loves music that has rhythm and to hear and see them playing my favourite composers is an essential part of my artistic life.

The innovative strand in the classical series, leaves no composer behind. What is extraordinary is that many conductors play the lesser known works of the Masters perhaps in an attempt to update the individual favourites of the audience. London’s music scene has never looked stronger. I find it difficult to exaggerate the importance of these performances for the capitol’s musical life. Great and dynamic conductors of the world and gifted piano soloists open up their hearts in dazzling displays for London.

The glittering transcriptions and tributes to great composers in their imagination are presented with warmth and passion. The dexterity with which their batons are raised, is homage to their educators of classical music. They all delve deeply into their Masters’ contributions and often those things that are so important get lost when they celebrate their music. Yet, the conducting is so great that they touch our inner souls. There are also the semi-staged music pieces that receive their attention. These inspirational conductors with the Philharmonia Orchestra are all unique and specialise their Masters in their own ways and this season Chopin is on top of their list because his bicentenary is celebrated and judging by the people around me, he is our choice too among many others.

My problem tonight is, who am I going to listen to and the choice of conductors. They all supply spell-binding music and are great established artists at SouthBank Centre. This is also the place that I found emerging talent.

I always remember that a conductor is a musician like everyone else to serve music and the composer. But he specialises in all the instruments that his orchestra plays. He has to create a delicate balance between leading and creating the conditions necessary for the orchestra to feel comfortable and confident. They need to feel the connection not only with the orchestra but also with the audience. I felt the music connection with many of these conductors. Right at the moment I am listening to Dvorak in the rehearsal hall and the feeling is magnificent. Later, I will be listening to the very talented conductors Riccardo Muti and Vladimir Ashkenazy.

RICCARDO MUTI is ably supported by Joshua Bell on the violin, conducting the Philhatmonia Orchestra. He has elected to conduct Beethoven Violin Concerto and Symphony No. 3, Eroica. Taking both concerto and symphony genres to new realms, Beethoven opened the door on the 19th century. The Eroica redefined the potential of music expression with its unprecedented design and powerful emotions that impacted the music scene. With the Violin Concerto Beethoven transformed the genre into a massive aspiration and scope towards symphony.

Robert Schumann’s Piano Concerto was received with less enthusiasm at its premiere perhaps due to its under-rated virtuosity rather than the dazzling showmanship so often heard in works for the piano and orchestra.

But that did not deter Vladimir Ashkenazy who discovered its second movement to be emotionally profound with the piano and cello finishing off each other’s musical sentences. Equally intense is the slow movement of Beethoven’s Fourth Symphony. Of this I recall what Berlioz had to say. ‘One is seized from the first bar, with an emotion thereby that by the end becomes shattering in its intensity.

Now, I am seeing Vladimir Ashkenazy rehearsing in full orchestration with Sunwook Kim at the piano.ie. -

Schubert’s Overture, Rosemende

Schumann’s Piano Concerto in a Minor

Beethoven’s Symphony No. 4.

For those who are planning to be in London early next year will be feasted with repeat performances along with many others, including my favourite conductor, Vladimir Jurowski. All will play at SouthBank Centre.

You bet, I will be there too.