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When did it actually happen? When did last remnant black out of Simon Rattle’s curls? On September 7th, 2002, when he took over head of Dirigentenamt with Berliner Philharmoniker, his mane was still hear grey. resulted in final loss of colour from attack of journalist Axel Brüggemann, who in April 2006 claimed Rattle would destroy traditional German sound of orchestra because he was a “globalisers”, “A Man without properties” whose Interpretations to listen to “How to make a verkrampftes different”?
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The accusations triggered a fundamental debate that draggeded for months – and at end of which re was realization that re was no “new Karajan” that had to celebrate with Auratischer aloofness and closed eyes classical as a substitute for religion. But that Simon Rattle is exactly type of artist Berliner Philharmoniker needs in order to remain world leaders in 21st century as well. And musicians have chosen exactly that. Because it belongs to DNA of grassroots democratically organized association of musicians, to constantly challenge oneself.
Therefore majority voted against number-safe variant with revered Daniel Barenboim and decided instead for way into open with Sir Simon. He n radically tore up stylistic horizon of Berliners, with a lot of contemporary music, with performance of Mozart operas, which orchestra had never played, with his love for Haydn, Janá?ek and Sibelius, to French Impressionism and to Rhythmic refinements of an Igor Stravinsky.
Here conductor is never boss
But perhaps it was also orchestral spirit that made Rattle’s hair in Berlin soon schlohweiß. The conductor has repeatedly emphasized in interviews how great it is that Philharmonic is not a command receiver, but wants to understand every interpretation and refore “prefers to rehearse longer to find out why y have something so Or so to do “. This attitude, however, also includes possibility that y reject interpretation of piece proposed by conductor.
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In current issue of Philharmonic magazine, Simon Rattle describes fundamental conflict with British ambiguity. Yes, this orchestra is burning – but that is why one should not get too close to it. Blazing passion for cause, flaming engagement in game – what conductors often have to demand laboriously in or ensembles is part of ir self-conception. But se musicians are also fire jellyfish. And conductor is refore never boss. Not even a primus inter pares, but a sparring partner. “They are like Meistersinger: a Guild,” White Rattle. and admonishes himself and his colleagues: “We should never forget that we do not belong to this guild. We are allowed to be part of it. “
Herbert von Karajan confirmed this to him by way. Even for Maestro Assoluto, it was incredibly difficult in first years with Philharmonic to “get orchestra to do anything else”, says Sir Simon. To add immediately: “But if it works, n it happens extraordinary.”
The happiness evenings in rattle era
And re were some such happiness evenings in rattle era. The merry New Year’s Eve concert with Bernstein’s Wonderful-town-musical is part of it, a sparkling Carmina Burana, Holst’s planet, enriched with recompositions, many evenings with works by Robert Schumann, rattle discovered late for himself, as well Karlheinz Stockhausen’s groups in hangar of Tempelhof airport and, last but not least, Wagner’s Parsifal at this year’s Easter festival in Baden-Baden.
If you look at statistics, it surprises one that in most played works of Philharmonic under Rattle’s direction Brahms ‘ 2nd Symphony is in first place, with 34 performances, followed by Beethoven’s ninth with 26 performances. Both composers also appear repeatedly on or top 10 places. Which is due to enormous touring activities of Philharmonic. The organizers of top orchestra prefer to listen to classics of national core repertoire abroad. Even though Rattle has been Brahms for a long time, even though he has not really entered new territory with his Beethoven interpretations.
