Yannick Nézet - Séguin après ses débuts avec l'orch. phil. de Berlin

I've been thinking about something you said yesterday, how you "received" the orchestra's sound. Do you have words to describe that sound? - The Berlin Philharmonic, even before Karajan, who obviously... He made it even... He expanded that sound. It's a very dark sound. It has a warm hue, yes, but it feels burnt, somehow. "Burnished" is how they say it in English . To me, it evokes bronze more than gold. They have a wonderful sense of legato, but in the more rhythmic sections, there's an energy from every member of the orchestra. New members are chosen based on their capacity to give that sound and energy. It's true for the strings, the wind instruments... But there's also a majesty to the sound of the brass. It's what I had imagined, and I received it immediately. Obviously, you must take that sound and adapt it to each work. You can't play the Symphonie Fantastique legato and somber throughout. That's not what the piece is about. You must use these qualities to better serve Berlioz. - It doesn't fit the French repertoire. - It's a sound that comes from German music, obviously. We're in Berlin. So... How that sound can shed a new light, and I choose my words carefully, shed a new light on French music is what I'm interested in. A French orchestra can also shed a new light on Brahms with its somewhat sharper edges. For instance, if we take Messiaen, the beginning of Les Offrandes oubliées is an air of such beauty and sadness for the strings. So, I use all that the strings of the Berlin Philarmonic have to give in terms of warmth, of legato. 35 00:02:19,50 --> 00:02:24,99 I encourage that in order to expand Messiaen's message without working againts it or the orchestra's qualities. A lighter, more diaphanous orchestra might give it a more meditative and less worldly feel. But this is Berlin, after all. These people live... They live day by day, even those who aren't German, among the remains of the Wall. Some streets were never rebuilt. It's a city that wants to remember. It doesn't want to forget its past. They're afraid that if they forget, they might make the same mistakes. What tore this city up is still so present that it affects their interpretation of this Messiaen piece. The same could be said for Berlioz and Prokofiev. - Did that influence your choosing Les Offrandes oubliées? - No, I wasn't thinking about that. I did think about the sound of the strings, but I mostly wanted to have a strong program. I'm happy to be a champion for Les Offrandes oubliées, because it almost never gets played. So many musicians still don't know that piece. That's also something this orchestra enjoys doing, especially since Sir Simon Rattle took its reins. They do try to diversify their repertoire. I didn't want to do a newly-written symphony just for fun. I wanted to stick to the high repertoire, but also throw in this 12-minute work that's not new, but rarely played. It's perfect. - What did you work on the hardest today in Messiaen's piece? - Its diaphanousness in the last section, to bring us closer to Heaven. I tried to differentiate that diaphanous sound from the richness and the legato of the first section. The second section is more Stravinskian. I expected that I would have to clarify my plans, which I did, but they have a real feel for that piece, for that style of music, and they seem to like it very much. I had set aside a lot of time to work on it, and that's good, since they're less familiar with it, but we'll be very well prepared for the first concert. Obviously, I'm delighted. - Did you further yesterday's work on the Berlioz piece? Was it as enjoyable? - Yes! This morning, we did the Scène aux champs. My key words are always the same: Beethoven, Pastoral Symphony... But the timbre, the way the woodwinds sing is so special. So when he worries, or rather panics for his beloved, in the middle part, they are extremely well-suited for that. Once again, the mix of timbres, how the violins link up with the flute, the balance between the strings and the woodwinds, the claps of thunder with the timpani... We had enough time to work through all these details. We worked extensively on the second movement to maintain its elegance, its beauty. It's a moment of peace in the symphony, after all, when he's just happy to be in love. So it's... It was extraordinary. Their level is fantastic. Still, there's always something to work on. Whether it's the best orchestra in the world, a student ensemble, or an orchestra of any other caliber, you can always improve. That's the beauty of music. Yesterday we talked about renewal. I'm happy to see that they understand this. You may have played a piece a thousand times, but you should still revisit it before a concert. Otherwise, its destructive. - It's comforting to know there's always work to do? - Yes! - Imagine if there wasn't! - It's very comforting. It's the most beautiful thing. That's what allows you and encourages you to go on. It opens so many doors and possibilities. If perfection were possible, we would no longer play these works. Someone else would have done them perfectly before. The beauty of it lies in striving for that impossible perfection. - Better "vital" than "perfect", no? - Yes. Perfection... - Blah! - We do strive for perfection. We always try to attain it, but it's linked to life. This orchestra is a living example of that! - This concert will also mark your first collaboration with Yefim Bronfman. - A fantastic meeting! I was really looking forward to it. Everybody loves to play with him. I knew him from his albums and concerts. He often plays in Montreal. I wasn't expecting... I feel like an idiot for saying this, but I didn't expect him to be so humble, so warm, so unaffected. And... it's funny, you know... I've met a few greats by now. Martha Argerich, Renée Fleming, Aldo Ciccolini... And they're all very similar in their sincerity, their honesty, and their humility toward the music. From the very first meeting, the first sentences we spoke, the first phrases we played, that's what struck me. Our work was limited to playing the concerto, taking a break, then playing every movement again, and stopping to fix two or three details. That was all. And the rest is in God's hands. - I feel like your indulging yourself a bit. - Of course! If I don't enjoy what I do, I should change careers. - This sincerity, this warmth... they make me think of someone. - Well, uhh... You're very kind. I think that... well... I think that music is the one field where human nature, where the human heart can better express itself. Great musicians are those who put their heart in their work. That's all I can say. - We'll see each other tomorrow before the concert? Just to see you and to take a photo of you in your conductor's suit. - My brand new suit, bought here in Berlin! - You're like a Finance Minister who wears new shoes on budget day? - Exactly. - This is more poetic. Thank you, Yannick. - My pleasure. �