5 Minutes With . . .Christian Tetzlaff
German violinist curates Carnegie Hall Perspectives series
Photo: Alexandra Vosding
You opened the series as the soloist-conductor of the Orchestra of St. Luke’s. You mentioned this opener was
going to be scary.
It’s a challenge for many reasons. We only have days to rehearse together before the performance. Also, to continuously play this repertoire and more is strenuous. But we had great music and a wonderful orchestra, so it was absolutely worth my time. The Sibelius [Suite for violin and strings] has been rarely played and the Haydn [Symphony No. 80 in D minor] was also new for many people. I played a sextet version of the Haydn, but it was my first time to ever experience it with an orchestra.
How did you ease into the role of leader-soloist?
As a soloist and conductor, you gain some things but you lose some things. Some things become quicker and easier, but others much more difficult without somebody up front leading. In a conductor-less orchestra, the individual becomes more important. It’s also a new way of listening in a group, and that’s always good.
The series’ Professional Training Workshop, covers Bach, Brahms, and Schumann. What do you hope to impart to the participants?
The theme is to say words in music. With most composers, there are no phrases that don’t imitate language and speaking. Everything we do needs to have a sense. We must ask ourselves, “How do we speak so that everyone in the audience can understand the meaning of the phrase?” We must learn to speak on the instrument, not just play it beautifully.
You joined Sir Simon Rattle and the Ensemble ACJW in December. What makes Rattle an important figure in classical music today?
It’s not just one thing, it’s a wonderful mixture of which we find more in conductors nowadays: a conductor who can do his job fantastically, produce enthusiasm from his musicians and the audience, and doesn’t feel the need to be the absolute dictator, but rather make everyone want to do [his or her] best and feel a sense of personal freedom.
You’ll be giving premieres of Sir Harrison Birtwistle’s Violin Concerto. What can the audience expect from this new piece?
I have read the score, but I haven’t started working on it, and I can’t entirely read a score and know how it sounds. But it looks interesting and beautiful to me. It’s less about the big classical concerto with leading soloists and accompaniment and more about interactions with individual players and the soloist. It looks quite challenging, especially for the woodwinds.
To rate or comment on this article, you need a site membership.
If you have a site membership already, you are seeing this message because you have not logged in.
What do you want to do?
Log in using my site membership.
Join now.
- On Stage: Christian Tetzlaff and cellist Tanja Tetzlaff with Staatskapelle Berlin; Michael Gielen, cond.
-
- 5 Minutes With . . . Jun Iwasaki
-
- A Conversation with Conductor Peter Oundjian
-
- The Role of Orchestral Musicians in Hiring the Boss
-
- Cellist Paul Watkins Premieres Lost Work of Cyril Scott
-
- Cello Masterworks: Playing Strauss' Epic 'Don Quixote'
-
ARE FULLY MODERATED
You must be logged in to rate and comment. Log in or Join now.