This is a delight, Col. Lorin Maazel – has there been a more technically polished conductor? – has generally inspired in me more respect than affection. But here, from late in his life, I’d guess, is charm, courtesy and a relaxed atmosphere. Wasn’t invariably the case, friends in the Philharmonia tell me. Everything is requested with conciseness and logic. A sense of humour lurks behind the camera too – relish the shot at 8’35”!
Thanks Andrew, you have identified precisely the reasons why I thought this rehearsal worth posting, as well as for the musical illumination on offer – in future I’ll be listening out for that chromatic horn line in the final movement. I interviewed Lorin Maazel mid-2008 at Henry Wood Hall. He was friendly and relaxed, candid and very interesting; humorous too, such as describing himself as an “equal opportunity composer” in relation to his three “Music for [an instrument] and Orchestra” pieces. I had an hour with him. Either side, he was rehearsing the Philharmonia in Brahms 1 & 2 with the minimum of fuss, his few softly-spoken words carrying to individuals or sections without stopping the music. The lunch break came earlier than expected, as did going-home time. A few days later, also Philharmonia, RFH, he conducted one of the greatest Brahms 4s I am ever going to hear.
This is a delight, Col. Lorin Maazel – has there been a more technically polished conductor? – has generally inspired in me more respect than affection. But here, from late in his life, I’d guess, is charm, courtesy and a relaxed atmosphere. Wasn’t invariably the case, friends in the Philharmonia tell me. Everything is requested with conciseness and logic. A sense of humour lurks behind the camera too – relish the shot at 8’35”!
Thanks Andrew, you have identified precisely the reasons why I thought this rehearsal worth posting, as well as for the musical illumination on offer – in future I’ll be listening out for that chromatic horn line in the final movement. I interviewed Lorin Maazel mid-2008 at Henry Wood Hall. He was friendly and relaxed, candid and very interesting; humorous too, such as describing himself as an “equal opportunity composer” in relation to his three “Music for [an instrument] and Orchestra” pieces. I had an hour with him. Either side, he was rehearsing the Philharmonia in Brahms 1 & 2 with the minimum of fuss, his few softly-spoken words carrying to individuals or sections without stopping the music. The lunch break came earlier than expected, as did going-home time. A few days later, also Philharmonia, RFH, he conducted one of the greatest Brahms 4s I am ever going to hear.