1 00:00:00,520 --> 00:00:03,720 Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing. 2 00:00:08,320 --> 00:00:11,560 Speaker 1: For the past twelve years, Zarin Made has run what 3 00:00:11,720 --> 00:00:14,920 Speaker 1: is arguably the finest orchestra in the country, the New 4 00:00:15,000 --> 00:00:19,680 Speaker 1: York Philharmonic. Zarin retired as the president and executive director 5 00:00:19,720 --> 00:00:22,200 Speaker 1: of the Philharmonic at the end of this past season. 6 00:00:22,800 --> 00:00:26,799 Speaker 1: He leaves behind Alan Gilbert the orchestra's musical director, a 7 00:00:26,880 --> 00:00:31,160 Speaker 1: position that Zarin's older brother, Zubin held for thirteen years. 8 00:00:31,920 --> 00:00:35,600 Speaker 1: Zarin Made is famous for his intellect, his passion for 9 00:00:35,680 --> 00:00:39,080 Speaker 1: the music, and his insights and ideas about how to 10 00:00:39,159 --> 00:00:43,479 Speaker 1: sustain a world class orchestra. It's hard to imagine someone 11 00:00:43,680 --> 00:00:48,400 Speaker 1: better suited for that job. How would you describe your job? 12 00:00:49,600 --> 00:00:52,839 Speaker 1: Getting paid for something I love to do? How's that? 13 00:00:53,159 --> 00:00:55,640 Speaker 1: I get that impression? You know? Somebody said to me, 14 00:00:56,080 --> 00:00:58,000 Speaker 1: you'll retire, Aren't you glad you won't have to do 15 00:00:58,120 --> 00:01:02,120 Speaker 1: union negotiations anyways? It I love doing them. Yeah, it's 16 00:01:02,120 --> 00:01:06,280 Speaker 1: a game. It's fun. Zaron's love for New York City 17 00:01:06,319 --> 00:01:10,360 Speaker 1: is contagious. He experiences more of his adopted city in 18 00:01:10,400 --> 00:01:15,880 Speaker 1: a weekend than most natives do in a lifetime. Saturday, 19 00:01:16,040 --> 00:01:18,679 Speaker 1: I went to the opera Saturday night. We had a concert. 20 00:01:19,760 --> 00:01:22,280 Speaker 1: Sunday afternoon. I went to another concert because one of 21 00:01:22,319 --> 00:01:24,959 Speaker 1: the people who comes to conduct us was conducting his orchestra, 22 00:01:25,720 --> 00:01:28,440 Speaker 1: and it was just very relaxing to go and do 23 00:01:28,520 --> 00:01:32,160 Speaker 1: all those things. You know, I don't understand colleagues of 24 00:01:32,240 --> 00:01:35,399 Speaker 1: mine who go maybe once a week to the concert, 25 00:01:36,280 --> 00:01:38,760 Speaker 1: and I don't understand. I assume you go to the 26 00:01:38,800 --> 00:01:41,600 Speaker 1: movies a lot. I watched movies a lot of don't 27 00:01:41,640 --> 00:01:44,399 Speaker 1: necessary that the same thing. Yeah, I went to the 28 00:01:44,400 --> 00:01:48,520 Speaker 1: movies yesterday morning, which is suddenly I've never done. I 29 00:01:48,560 --> 00:01:50,000 Speaker 1: think I go to the symphony more than you go 30 00:01:50,040 --> 00:01:52,600 Speaker 1: to the movies. No, I used to go to the 31 00:01:52,640 --> 00:01:55,560 Speaker 1: movies two or three times a week. You know. Sometimes 32 00:01:55,800 --> 00:01:57,920 Speaker 1: my wife and I go on a Saturday afternoon and 33 00:01:58,040 --> 00:02:01,160 Speaker 1: go to the concert afterwards. We love going to the 34 00:02:01,200 --> 00:02:04,520 Speaker 1: movies and to the theater. We're out all the time. 35 00:02:08,000 --> 00:02:11,520 Speaker 1: He's talking about his wife of forty six years, Carmen Made, 36 00:02:11,520 --> 00:02:15,440 Speaker 1: a former opera singer who is as invested in classical 37 00:02:15,520 --> 00:02:18,800 Speaker 1: music and the arts as is Zaren. I've been teaching 38 00:02:18,840 --> 00:02:23,360 Speaker 1: singing for fifty four years. For any singing teacher that's 39 00:02:23,440 --> 00:02:26,480 Speaker 1: out there, it does take about fifty four years to 40 00:02:26,480 --> 00:02:30,079 Speaker 1: figure out how exactly to do it, how to turn 41 00:02:31,000 --> 00:02:36,600 Speaker 1: each new voice into its best, how to attack that 42 00:02:36,680 --> 00:02:41,280 Speaker 1: instrument or encourage that instrument, because everyone is so different. 43 00:02:41,560 --> 00:02:44,640 Speaker 1: But the main thing is to attack it from music 44 00:02:44,880 --> 00:02:48,600 Speaker 1: instead of only from the voice. So to an extent, 45 00:02:49,560 --> 00:02:53,160 Speaker 1: when you are instructing and when you are coaching, or 46 00:02:53,160 --> 00:02:55,960 Speaker 1: whatever word you want to use, I would say, I 47 00:02:56,000 --> 00:03:00,960 Speaker 1: teach you teach singing, and I'm obsessed with singing, And 48 00:03:01,000 --> 00:03:02,600 Speaker 1: I joke about it because if I could sing, I'd 49 00:03:02,600 --> 00:03:04,440 Speaker 1: have a completely different life. In my heart, I think 50 00:03:04,440 --> 00:03:06,160 Speaker 1: I have the heart of a singer, but I have 51 00:03:06,240 --> 00:03:09,160 Speaker 1: the vocal cords of a crossing guard or something. I mean, 52 00:03:10,200 --> 00:03:14,200 Speaker 1: excuse me, interrupt you. You have the vocal chords of 53 00:03:14,240 --> 00:03:18,280 Speaker 1: an actor. Carmen Madea is precise and doesn't hold back 54 00:03:18,320 --> 00:03:21,400 Speaker 1: on her opinions, and over the last few years, she 55 00:03:21,639 --> 00:03:25,239 Speaker 1: and Zarin have welcomed me to their classical music world. 56 00:03:25,760 --> 00:03:29,080 Speaker 1: I've been listening to classical music since my twenties, when 57 00:03:29,120 --> 00:03:32,480 Speaker 1: I discovered it while driving around Los Angeles looking for work. 58 00:03:33,280 --> 00:03:35,800 Speaker 1: Through meeting Zaren, I've been able to live out my 59 00:03:35,920 --> 00:03:39,320 Speaker 1: dream of being part of an orchestra, not as a musician, 60 00:03:39,760 --> 00:03:42,920 Speaker 1: but by hosting the Philharmonic's radio broadcast on DEBT q 61 00:03:43,240 --> 00:03:47,680 Speaker 1: x R and by serving on the Philharmonic's board of directors. Zarin, 62 00:03:47,840 --> 00:03:52,320 Speaker 1: an accountant by trade, grew up in nineteen forties Bombay 63 00:03:52,360 --> 00:03:56,200 Speaker 1: before it became the booming city of Mumbai. Back then, 64 00:03:56,320 --> 00:03:58,640 Speaker 1: or at least in Zarin made his memory, it was 65 00:03:58,720 --> 00:04:01,760 Speaker 1: more like a colonial fish village. For me. It was 66 00:04:01,800 --> 00:04:06,200 Speaker 1: a lovely upbringing. We bicycle to school for forty five 67 00:04:06,240 --> 00:04:09,800 Speaker 1: minutes to get to our school. We played cricket every weekend, 68 00:04:09,920 --> 00:04:13,640 Speaker 1: and many fields that actually still exist. When your father 69 00:04:13,760 --> 00:04:16,120 Speaker 1: was a musician, My father was a musician. Should we 70 00:04:16,120 --> 00:04:20,960 Speaker 1: grew up in a completely absorbing musical and was a 71 00:04:20,960 --> 00:04:24,840 Speaker 1: professional magician. Oh yeah, yeah. He was a violinist and 72 00:04:25,000 --> 00:04:28,280 Speaker 1: a conductor, and he had started the Bombay Symphony, he 73 00:04:28,320 --> 00:04:34,160 Speaker 1: started the Bombay String Quartet. Was his father classically. But 74 00:04:34,279 --> 00:04:36,440 Speaker 1: this is one of the craziest things, Alec. I mean, 75 00:04:36,880 --> 00:04:39,240 Speaker 1: you think back to when he started studying the violin. 76 00:04:39,760 --> 00:04:44,520 Speaker 1: He was born in nine eight in the twenties, there 77 00:04:44,520 --> 00:04:47,960 Speaker 1: were no recordings, there was no radio. How did this 78 00:04:48,160 --> 00:04:53,560 Speaker 1: man get this bug to study Western classical music in India? 79 00:04:53,600 --> 00:04:56,479 Speaker 1: And we still don't know, and he doesn't know when 80 00:04:56,520 --> 00:04:59,480 Speaker 1: we asked him. He actually went to school, did a 81 00:04:59,560 --> 00:05:03,000 Speaker 1: commis agree and statured working for the Income Tax Department 82 00:05:04,080 --> 00:05:08,240 Speaker 1: trained him on the violin Uh an Italian musician who 83 00:05:08,240 --> 00:05:13,040 Speaker 1: had ended up in Bombay by ship from Genoa and 84 00:05:13,680 --> 00:05:18,279 Speaker 1: the you know, he gave private lessons and my father 85 00:05:18,360 --> 00:05:20,919 Speaker 1: studied with him. What year did he found the Symphony 86 00:05:20,920 --> 00:05:23,719 Speaker 1: in Bombay? In thirty nine? And there have been none 87 00:05:23,720 --> 00:05:27,240 Speaker 1: prior of him and my brother and I grew up 88 00:05:27,400 --> 00:05:31,120 Speaker 1: listening to sectional rehearsals of the Bombay Symphony in our 89 00:05:31,160 --> 00:05:34,760 Speaker 1: living room, chamber music concerts. I mean, I know chamber 90 00:05:34,920 --> 00:05:39,480 Speaker 1: music intimately only because we listened to it over and 91 00:05:39,520 --> 00:05:42,640 Speaker 1: over and over again. Your brother has said, I want 92 00:05:42,640 --> 00:05:45,039 Speaker 1: to bead this quote. There was little room for you 93 00:05:45,120 --> 00:05:48,479 Speaker 1: to practice as a kid between him and your father. 94 00:05:49,000 --> 00:05:51,880 Speaker 1: Did you had you wanted to play? No? I really never. 95 00:05:51,960 --> 00:05:54,120 Speaker 1: I thought I was enough to listen to it, and 96 00:05:54,160 --> 00:05:56,599 Speaker 1: I didn't feel any urge to want to learn anything. 97 00:05:56,640 --> 00:05:59,760 Speaker 1: He didn't know, and I was perfectly happy doing that 98 00:06:00,720 --> 00:06:04,320 Speaker 1: and going to school and listening to music, putting on 99 00:06:04,360 --> 00:06:06,560 Speaker 1: records all the time. There's all seventy eight yet to 100 00:06:06,600 --> 00:06:09,360 Speaker 1: get up every four minutes to flip the record and 101 00:06:09,440 --> 00:06:13,599 Speaker 1: change it, and that was wonderful. Your your brother. When 102 00:06:13,640 --> 00:06:15,240 Speaker 1: did he know that he wanted to go on that? 103 00:06:15,960 --> 00:06:19,640 Speaker 1: He probably knew all the time, because I think the 104 00:06:19,680 --> 00:06:23,400 Speaker 1: calling was there and he really wanted to be a conductor. 105 00:06:24,360 --> 00:06:28,400 Speaker 1: Then he left India to study composition in Vienna with 106 00:06:28,440 --> 00:06:30,640 Speaker 1: an eye to go into the conducting school. In a 107 00:06:30,720 --> 00:06:33,159 Speaker 1: year after he was in Vienna, he got into conducting 108 00:06:33,200 --> 00:06:37,279 Speaker 1: school and started having He was eighteen at the time. 109 00:06:38,720 --> 00:06:41,479 Speaker 1: And my father continued working that way, and then he 110 00:06:41,600 --> 00:06:45,800 Speaker 1: left India, came to England, worked in an orchestra, the 111 00:06:45,839 --> 00:06:49,839 Speaker 1: Hally Orchestra, a great orchestra with Sir John Barbarolli, who 112 00:06:49,880 --> 00:06:52,719 Speaker 1: was a music director of New York in the fourties. 113 00:06:53,680 --> 00:06:58,080 Speaker 1: Then he came to Philadelphia and slowly both super and 114 00:06:58,160 --> 00:07:03,800 Speaker 1: I gravitated to the United States. And when I've finished 115 00:07:03,800 --> 00:07:07,920 Speaker 1: my accounting qualification in London, that came to New York 116 00:07:08,600 --> 00:07:11,760 Speaker 1: to get a job. I was told that I would 117 00:07:11,760 --> 00:07:14,400 Speaker 1: be drafted and sent back to England as a g I. 118 00:07:14,960 --> 00:07:18,040 Speaker 1: So that's when I gravitated up to Canada in nineteen 119 00:07:18,120 --> 00:07:20,680 Speaker 1: sixty two. I was a bachelor. I thought this is 120 00:07:20,720 --> 00:07:25,480 Speaker 1: a nice place. And that's how my life started in 121 00:07:25,560 --> 00:07:29,520 Speaker 1: North America. Your father lived until one he died in 122 00:07:29,600 --> 00:07:34,080 Speaker 1: two thousand and two. No, he was ninety four. He 123 00:07:34,200 --> 00:07:37,240 Speaker 1: was ninety four, so obviously he had lived to see 124 00:07:37,280 --> 00:07:42,320 Speaker 1: both of you. Was mesmerized. Yeah, I mean he was, 125 00:07:42,480 --> 00:07:44,680 Speaker 1: especially with my brother, because you know, he lived through 126 00:07:44,920 --> 00:07:52,360 Speaker 1: vicariously having grown up around musicians and your father. But 127 00:07:52,400 --> 00:07:55,240 Speaker 1: I guess more notably your brother, who being a conductor 128 00:07:55,280 --> 00:07:59,560 Speaker 1: in the modern age, those guys certainly have a presence. 129 00:07:59,600 --> 00:08:02,720 Speaker 1: Shell say, did that help you? But the work you 130 00:08:02,760 --> 00:08:06,160 Speaker 1: were doing and dealing with the orchestras and solo wests, 131 00:08:06,160 --> 00:08:13,040 Speaker 1: and I suppose the way it helped ah when I 132 00:08:13,080 --> 00:08:17,200 Speaker 1: was working as an accountant in Montreal and I was 133 00:08:17,200 --> 00:08:20,000 Speaker 1: on the board of the Montreal Symphony, the way you 134 00:08:20,040 --> 00:08:22,920 Speaker 1: are on the board of the New York Philharmonic. Of course, 135 00:08:22,920 --> 00:08:26,840 Speaker 1: when musicians came to perform to conduct, I got to 136 00:08:26,920 --> 00:08:29,160 Speaker 1: know them in the New Zubin so we kind of 137 00:08:29,200 --> 00:08:33,240 Speaker 1: became friends and we'd see each other and we could communicate. 138 00:08:33,400 --> 00:08:36,160 Speaker 1: And it's a small world. Yeah, it's a small world. 139 00:08:36,160 --> 00:08:38,280 Speaker 1: So I got to know a lot of people that way. 140 00:08:38,520 --> 00:08:40,719 Speaker 1: So of course that helped me in when I did 141 00:08:40,800 --> 00:08:44,920 Speaker 1: decide to go into this professional running an orchestra full time. 142 00:08:44,960 --> 00:08:47,800 Speaker 1: In I knew a lot of people. You went to 143 00:08:47,840 --> 00:08:50,040 Speaker 1: Canada in sixty two sixty two, so I went as 144 00:08:50,040 --> 00:08:52,040 Speaker 1: an account I was on the board of the symphony, 145 00:08:52,679 --> 00:08:55,280 Speaker 1: and so from that it became my job at the 146 00:08:55,320 --> 00:08:59,040 Speaker 1: symphony was like all other board members, you know, governance 147 00:08:59,040 --> 00:09:02,640 Speaker 1: and raising money. Right. And then when we needed an 148 00:09:02,640 --> 00:09:07,200 Speaker 1: executive director and couldn't find anybody, a few colleagues of 149 00:09:07,200 --> 00:09:09,120 Speaker 1: mine and I decided that maybe I should do it, 150 00:09:09,160 --> 00:09:12,520 Speaker 1: take a leave of absence and train somebody to run 151 00:09:12,559 --> 00:09:15,600 Speaker 1: the orchestra. And in the end I got the bug 152 00:09:15,640 --> 00:09:18,960 Speaker 1: and I said, I like this. Zarin remained at the 153 00:09:19,000 --> 00:09:22,959 Speaker 1: helm of the Montreal Symphony Orchestra for nine years. Charles 154 00:09:23,000 --> 00:09:27,560 Speaker 1: Detis was music director. Carmen made it remembers their collaboration. 155 00:09:28,120 --> 00:09:31,280 Speaker 1: They made an exceptional team. What do you attribute that 156 00:09:31,360 --> 00:09:33,839 Speaker 1: to that period there in Montreal. Well, first of all, 157 00:09:33,920 --> 00:09:36,800 Speaker 1: everything was working in the right way. The mayor that 158 00:09:36,880 --> 00:09:40,920 Speaker 1: was then in Montreal was very supportive. Charlie was at 159 00:09:41,640 --> 00:09:45,240 Speaker 1: the height of his career and he brought to Montreal 160 00:09:45,840 --> 00:09:50,560 Speaker 1: a very strong discipline to that orchestra. Charlie, as we 161 00:09:50,640 --> 00:09:56,720 Speaker 1: call him, has a great ear and a great refined ear, 162 00:09:57,840 --> 00:10:02,200 Speaker 1: that sort of balance of color and in tune playing, 163 00:10:02,800 --> 00:10:06,920 Speaker 1: and he created for that orchestra a way of making 164 00:10:06,960 --> 00:10:10,959 Speaker 1: sure that everything was harmonious and at the same time, 165 00:10:11,080 --> 00:10:15,719 Speaker 1: the money the business was in a good place, so 166 00:10:15,760 --> 00:10:18,559 Speaker 1: they could do many things, and recording was a great 167 00:10:19,400 --> 00:10:23,079 Speaker 1: part of that. And they worked together to bring music 168 00:10:23,160 --> 00:10:25,840 Speaker 1: to the parks, music to the school. And what about 169 00:10:25,880 --> 00:10:28,679 Speaker 1: the orchestra itself. These people who are in these administrative 170 00:10:28,720 --> 00:10:32,080 Speaker 1: positions of the music director themselves, they're handling this body 171 00:10:32,120 --> 00:10:36,000 Speaker 1: of all these individuals. Not all orchestras are bodies of 172 00:10:36,080 --> 00:10:38,600 Speaker 1: people who are easy to handle. I guess it's safe 173 00:10:38,640 --> 00:10:42,280 Speaker 1: to say that Underta and Zaren you had a happy 174 00:10:42,280 --> 00:10:44,160 Speaker 1: group of people. They were happy. We had a happy 175 00:10:44,160 --> 00:10:48,479 Speaker 1: group of people because I think it's always been Zaren's 176 00:10:49,480 --> 00:10:53,720 Speaker 1: feeling and his devotion to the fact that the musicians 177 00:10:54,760 --> 00:10:58,559 Speaker 1: have all studied for many years and then they joined 178 00:10:58,559 --> 00:11:02,359 Speaker 1: a group of people and they have to become underneath 179 00:11:02,480 --> 00:11:05,920 Speaker 1: the battle of whoever the conductor is. That means that 180 00:11:06,000 --> 00:11:08,520 Speaker 1: you have to make sure that your musicians are happy, 181 00:11:09,679 --> 00:11:13,560 Speaker 1: make sure that everything that goes on in their lives, 182 00:11:13,760 --> 00:11:18,760 Speaker 1: from money to traveling experiences, et cetera. From their unions. 183 00:11:18,800 --> 00:11:23,920 Speaker 1: All of that is working well, and your respect for them, 184 00:11:23,920 --> 00:11:28,360 Speaker 1: your respect for the musicians, and and Charlie's expertise, and 185 00:11:29,360 --> 00:11:32,520 Speaker 1: he was so adamant that they make a great sound. 186 00:11:42,920 --> 00:12:01,600 Speaker 1: M M. What was the musical world, the classical musical 187 00:12:01,679 --> 00:12:07,040 Speaker 1: world like back then as compared to now. I think 188 00:12:07,320 --> 00:12:10,960 Speaker 1: it wasn't that different. You know, people always think back 189 00:12:11,000 --> 00:12:14,199 Speaker 1: and say the good old days. I think more people 190 00:12:14,240 --> 00:12:16,520 Speaker 1: go to consists today than they did in those days. 191 00:12:18,360 --> 00:12:22,360 Speaker 1: As the result of what I think in the last 192 00:12:22,360 --> 00:12:25,680 Speaker 1: ten years, I would say the Internet is enormous. Technology 193 00:12:25,760 --> 00:12:28,720 Speaker 1: has helped absolutely instead of saying it's the reverse. I 194 00:12:28,720 --> 00:12:31,720 Speaker 1: think it's always helped expanded the audience. You know. It's 195 00:12:31,760 --> 00:12:35,360 Speaker 1: like in sports, when they started televising all these baseball 196 00:12:35,400 --> 00:12:38,200 Speaker 1: games and hockey games, the basketball games, it brought more 197 00:12:38,240 --> 00:12:40,719 Speaker 1: people to the stadiums because they got used to see 198 00:12:40,800 --> 00:12:43,880 Speaker 1: what was going on. It's so competitive here in New 199 00:12:43,920 --> 00:12:47,320 Speaker 1: York for that ticket holders dollar. How do you think 200 00:12:47,960 --> 00:12:51,160 Speaker 1: the city has behaved and the state has behaved in 201 00:12:51,280 --> 00:12:53,520 Speaker 1: terms of supporting the arts. Have They've been a good 202 00:12:53,559 --> 00:12:58,880 Speaker 1: partner for you. Look in the United States, one does 203 00:12:58,960 --> 00:13:01,400 Speaker 1: not look to the date for support of the arts 204 00:13:02,280 --> 00:13:05,640 Speaker 1: as compared to well as compared to Europe, and we're 205 00:13:05,640 --> 00:13:09,520 Speaker 1: in Europe are the most generous. Every opera house and 206 00:13:09,679 --> 00:13:14,760 Speaker 1: orchestra in Europe, I'm not talking England proper. Europe is 207 00:13:14,760 --> 00:13:20,440 Speaker 1: supported entirely, entirely by the state. So Las Cala or 208 00:13:20,720 --> 00:13:23,240 Speaker 1: Munich or Berlin. What do you think the budget of 209 00:13:23,240 --> 00:13:28,200 Speaker 1: the Berlin for harmonicas similar to yours? Probably not as high. 210 00:13:28,480 --> 00:13:32,920 Speaker 1: The payods are different and they don't have to pay 211 00:13:32,960 --> 00:13:36,400 Speaker 1: anything separate for health care and pension, which is such 212 00:13:36,440 --> 00:13:38,960 Speaker 1: a huge cost to all of us in every business. 213 00:13:39,600 --> 00:13:42,440 Speaker 1: So yeah, the budgets will be different, but it's all 214 00:13:42,480 --> 00:13:47,280 Speaker 1: covered by the Senate in Berlin. New concert hall complex 215 00:13:47,320 --> 00:13:50,079 Speaker 1: as being built in Paris. It's being paid for by 216 00:13:50,080 --> 00:13:53,240 Speaker 1: the by the city of Paris and the federal government, 217 00:13:54,160 --> 00:13:56,680 Speaker 1: and it's going to be huge. I went to see 218 00:13:56,679 --> 00:13:58,880 Speaker 1: it when I was a couple of months ago. I 219 00:13:58,960 --> 00:14:02,679 Speaker 1: think it's going to be three or four hundred million euros, 220 00:14:02,720 --> 00:14:06,960 Speaker 1: which for European terms is a huge amount of money, 221 00:14:07,200 --> 00:14:09,800 Speaker 1: and it's going to be very beautiful. Genuel is designing 222 00:14:09,840 --> 00:14:13,560 Speaker 1: it and it will open in two thousand and fourteen. 223 00:14:13,600 --> 00:14:17,360 Speaker 1: They've invited us to go and play. Then fifteen, what's 224 00:14:17,400 --> 00:14:21,000 Speaker 1: something you think the city could do. Let's confine ourselves 225 00:14:21,040 --> 00:14:23,640 Speaker 1: to this institution. What could they have done that you 226 00:14:23,680 --> 00:14:27,160 Speaker 1: had expected that they would do, or something you'd like 227 00:14:27,320 --> 00:14:32,480 Speaker 1: to see them do. Let's go back to the basic thing, 228 00:14:32,560 --> 00:14:36,280 Speaker 1: not just here, but everywhere that I would have liked 229 00:14:37,480 --> 00:14:42,400 Speaker 1: more support for the arts generally from the leaders of 230 00:14:42,400 --> 00:14:48,520 Speaker 1: our community, and that starts with the presidents, to the senators, 231 00:14:48,600 --> 00:14:52,640 Speaker 1: to the governors. They do not go to the opera, 232 00:14:52,680 --> 00:14:56,080 Speaker 1: they do not go to concerts. When we played in 233 00:14:56,120 --> 00:14:59,840 Speaker 1: Berlin last year, Angel America bought her own tickets in 234 00:15:00,080 --> 00:15:02,520 Speaker 1: came to hear our concert, and she came in the 235 00:15:02,520 --> 00:15:07,280 Speaker 1: intermission to see Allan and Tomahimson was the And I 236 00:15:07,320 --> 00:15:11,040 Speaker 1: think that shows the people of that city in the country, 237 00:15:11,360 --> 00:15:16,800 Speaker 1: the importance of the arts. We don't have that anywhere. 238 00:15:18,360 --> 00:15:20,160 Speaker 1: I think it would be a great boom for the 239 00:15:20,200 --> 00:15:22,160 Speaker 1: city of New York if there was a summer home, 240 00:15:22,240 --> 00:15:26,320 Speaker 1: not just for the orchestra, but you know, the orchestra 241 00:15:26,600 --> 00:15:29,120 Speaker 1: might do in a three or four month period, twenty 242 00:15:29,120 --> 00:15:31,800 Speaker 1: five concerts. You got all those other days that you 243 00:15:31,800 --> 00:15:35,800 Speaker 1: could have jazz and pop, and you know, so why 244 00:15:35,880 --> 00:15:38,640 Speaker 1: isn't the city behind the whole idea of doing something, 245 00:15:39,960 --> 00:15:44,160 Speaker 1: of leading the charge to have a performance space in 246 00:15:44,200 --> 00:15:46,520 Speaker 1: the city of New York. That's what I mean is 247 00:15:46,600 --> 00:15:51,960 Speaker 1: lacking from the elected officials. So there's summer Home is 248 00:15:52,000 --> 00:15:53,960 Speaker 1: something that we need to do. We need to redo 249 00:15:54,000 --> 00:15:57,800 Speaker 1: this avery Offisher Hall. People keep saying this for acoustical reasons, 250 00:15:57,800 --> 00:15:59,840 Speaker 1: and I keep saying, no, it's fifty years old. At 251 00:15:59,840 --> 00:16:03,880 Speaker 1: me is redoing. You don't believe that every Fisher is 252 00:16:03,920 --> 00:16:07,400 Speaker 1: as compromised acoustically, and some people mentioned at all. So listen, 253 00:16:07,840 --> 00:16:14,480 Speaker 1: we play concerts on tour all over the world. I'm 254 00:16:14,520 --> 00:16:16,360 Speaker 1: not going to give you numbers because I haven't worked 255 00:16:16,400 --> 00:16:19,960 Speaker 1: it out, but I can tell you that there's maybe 256 00:16:20,000 --> 00:16:23,400 Speaker 1: half a dozen holes that I think are better the 257 00:16:23,480 --> 00:16:27,640 Speaker 1: Nabory Fisher. Most of the holes that we playing are 258 00:16:27,640 --> 00:16:31,720 Speaker 1: really not that great. What is it in your mind? 259 00:16:32,000 --> 00:16:35,800 Speaker 1: Because people struggle with this question. Acoustics for symphonic music 260 00:16:36,240 --> 00:16:38,920 Speaker 1: is something that you assume it's important because people never 261 00:16:38,920 --> 00:16:41,400 Speaker 1: shut up about it. Is it a science? Is that 262 00:16:41,480 --> 00:16:44,640 Speaker 1: a team of technicians coming in? Look? Is it luck? 263 00:16:45,400 --> 00:16:47,880 Speaker 1: I think the problem with every Fisher Hall is Carnegie 264 00:16:47,920 --> 00:16:52,640 Speaker 1: Hall is eight blocks south of US. Okay, the press 265 00:16:52,720 --> 00:16:55,960 Speaker 1: keep referring to it as acoustically challenged. If I can 266 00:16:56,000 --> 00:17:01,480 Speaker 1: show you the reviews of this hole in nineteen seventy 267 00:17:01,480 --> 00:17:04,359 Speaker 1: six when it reopened, from the New York Times and 268 00:17:04,400 --> 00:17:06,600 Speaker 1: all the newspaper because there were more than one newspaper 269 00:17:06,680 --> 00:17:09,280 Speaker 1: close period of time, it closer about a year and 270 00:17:09,320 --> 00:17:13,199 Speaker 1: a half for what for renovations that that was a 271 00:17:13,240 --> 00:17:17,520 Speaker 1: real acoustical redo. From the time it opened, people largely 272 00:17:17,560 --> 00:17:19,800 Speaker 1: believe that it didn't address some of the problems. They thought, 273 00:17:19,840 --> 00:17:23,840 Speaker 1: this is the greatest hall in the world. What do 274 00:17:23,880 --> 00:17:26,160 Speaker 1: you think, for example, about what is considered a more 275 00:17:26,200 --> 00:17:29,000 Speaker 1: modern hall in your new construction in l A. How 276 00:17:29,040 --> 00:17:31,560 Speaker 1: do you think the Disney Hall sounds. I think it 277 00:17:31,600 --> 00:17:34,400 Speaker 1: looks beautiful. I don't think it sounds as good as 278 00:17:34,400 --> 00:17:38,520 Speaker 1: it looks, but it's a perfectly acceptable hall. What's one 279 00:17:38,560 --> 00:17:40,360 Speaker 1: that's been built recently that you think that they got 280 00:17:40,359 --> 00:17:45,040 Speaker 1: to write acoustically? If you can name one in the 281 00:17:45,440 --> 00:17:47,600 Speaker 1: I would say in the last twenty twenty five years. 282 00:17:47,720 --> 00:17:51,399 Speaker 1: I like the hall in Frankfurt. There's a couple of 283 00:17:51,400 --> 00:17:54,480 Speaker 1: halls in Japan that are wonderful, the Chimo in Philadelphia. 284 00:17:54,600 --> 00:17:58,439 Speaker 1: The Climb is not that great, It's okay, we just 285 00:17:58,480 --> 00:18:01,400 Speaker 1: played there. It's improved also because they have all kinds 286 00:18:01,440 --> 00:18:05,120 Speaker 1: of adjustable things. That's about it that I could think. 287 00:18:05,640 --> 00:18:08,120 Speaker 1: I'm told the new hall in St. Petersburg is wonderful, 288 00:18:08,320 --> 00:18:10,480 Speaker 1: and in London and in London when was the last 289 00:18:10,480 --> 00:18:12,679 Speaker 1: time they run of that hall? But they did the 290 00:18:12,720 --> 00:18:17,000 Speaker 1: Festival Hall about five hours six years ago. Major improvement. 291 00:18:17,080 --> 00:18:20,240 Speaker 1: They spent I'm told a hundred and fifty million pounds 292 00:18:20,600 --> 00:18:24,160 Speaker 1: something like that. Yeah, none of these things are cheap. 293 00:18:25,000 --> 00:18:26,240 Speaker 1: And then you have to be out of the hall 294 00:18:26,320 --> 00:18:28,439 Speaker 1: for a long time, you know. That's sort of the 295 00:18:28,480 --> 00:18:32,200 Speaker 1: problems we have. And my success lab is where will 296 00:18:32,240 --> 00:18:35,520 Speaker 1: they go? And now we have certain ideas of how 297 00:18:35,560 --> 00:18:40,560 Speaker 1: to split the orchestra play in different halls. There's there's 298 00:18:40,600 --> 00:19:23,679 Speaker 1: ways to travel around the Burrows and play. We'll be 299 00:19:23,720 --> 00:19:25,960 Speaker 1: back in a minute with more of my conversation with 300 00:19:26,040 --> 00:19:29,159 Speaker 1: Zaron maid to whose wife Carmen, has some thoughts on 301 00:19:29,200 --> 00:19:32,719 Speaker 1: why his tenure at the New York Philharmonic was so successful. 302 00:19:34,080 --> 00:19:39,720 Speaker 1: I think his idea for the orchestra has never really 303 00:19:39,760 --> 00:19:45,200 Speaker 1: been a vehicle for himself, and I think people see 304 00:19:45,240 --> 00:19:49,760 Speaker 1: that if you work with him closely, you'll see that. Also, 305 00:19:50,040 --> 00:19:53,840 Speaker 1: he's an Indian, so he's good at business. He's good 306 00:19:53,880 --> 00:19:57,760 Speaker 1: at numbers. He has an accountant after all. He has 307 00:19:57,800 --> 00:20:02,240 Speaker 1: a great memory. So he's a type that gets respect 308 00:20:02,720 --> 00:20:06,520 Speaker 1: for not having to check all the time what last 309 00:20:06,600 --> 00:20:10,199 Speaker 1: year's season was. He hasn't in his brain when he 310 00:20:10,280 --> 00:20:13,400 Speaker 1: makes a season up and you ask him, he doesn't 311 00:20:13,440 --> 00:20:16,520 Speaker 1: have to check anywhere. It's in his head. He has 312 00:20:16,560 --> 00:20:20,160 Speaker 1: a good background, not as a musician himself, but with 313 00:20:20,240 --> 00:20:24,119 Speaker 1: his family, and he's always been interested in music, and 314 00:20:24,560 --> 00:20:27,240 Speaker 1: as a young student in England went all the time 315 00:20:27,720 --> 00:20:31,000 Speaker 1: to place and so on. So he has integrity. He 316 00:20:31,080 --> 00:20:35,280 Speaker 1: has integrity. He's trustworthy. Absolutely, he's trustworthy when you just 317 00:20:35,280 --> 00:20:37,000 Speaker 1: just when you meet him, when you spend five minutes 318 00:20:37,000 --> 00:20:38,520 Speaker 1: with him. By the time you're done, you say, this 319 00:20:38,640 --> 00:20:41,120 Speaker 1: guy's a gentleman and his trustworthy. But he also has 320 00:20:41,760 --> 00:20:45,959 Speaker 1: some kind of presence if you use that correctly. I 321 00:20:46,000 --> 00:20:48,920 Speaker 1: think you have to command respect and try to get 322 00:20:48,920 --> 00:20:52,359 Speaker 1: things done, and get things done. More about zaren Nada's 323 00:20:52,400 --> 00:20:59,679 Speaker 1: work with the New York Philharmonic. In a minute, this 324 00:20:59,800 --> 00:21:04,560 Speaker 1: is like Baldwin and you're listening to here's the thing. Now, 325 00:21:04,560 --> 00:21:07,680 Speaker 1: what's changed here in the time of your benner when 326 00:21:07,720 --> 00:21:12,880 Speaker 1: you came here was in what was the philharmonic um 327 00:21:14,400 --> 00:21:18,160 Speaker 1: because the Philharmonic has unique concerns compared to other Yeah, 328 00:21:18,160 --> 00:21:21,240 Speaker 1: I think salaries are higher, correct, No, the salaries are 329 00:21:21,280 --> 00:21:25,320 Speaker 1: competitive with the major orchestras Chicago, Boston, even though the 330 00:21:25,359 --> 00:21:27,840 Speaker 1: cost of living is higher. Yeah, that's unfortunately one of 331 00:21:27,840 --> 00:21:30,439 Speaker 1: the things that the musicians you have to cope with. 332 00:21:32,600 --> 00:21:36,040 Speaker 1: I think the changes that have taken place have been 333 00:21:36,080 --> 00:21:39,639 Speaker 1: more in the way we've taken the orchestra out of 334 00:21:39,760 --> 00:21:45,399 Speaker 1: every Fisher Hall, much bigger, better programmed parks concerts, so 335 00:21:45,480 --> 00:21:48,359 Speaker 1: we're getting a lot of good people. The attendance in 336 00:21:48,400 --> 00:21:52,879 Speaker 1: the parks has gone up enormously. Our use of the 337 00:21:52,920 --> 00:21:57,359 Speaker 1: Internet and the media has changed enormously. We're not making 338 00:21:57,400 --> 00:22:01,639 Speaker 1: recordings anymore, but we are, you know, taking out our 339 00:22:02,119 --> 00:22:04,920 Speaker 1: broadcasts and downloading live and so on. Why aren't you 340 00:22:04,960 --> 00:22:09,520 Speaker 1: making recordings anymore? Nobody's making recordings. No one's buying You 341 00:22:09,520 --> 00:22:11,439 Speaker 1: can get it free on the internet. You can, you know, 342 00:22:12,640 --> 00:22:15,480 Speaker 1: go on the iTunes and get any piece you want 343 00:22:15,680 --> 00:22:19,760 Speaker 1: from eighteen different sources. Are you selling your material on 344 00:22:19,800 --> 00:22:24,399 Speaker 1: the internet giving it for free? Give me for free? Um? 345 00:22:24,480 --> 00:22:28,720 Speaker 1: The the fact that our radio broadcast and now international 346 00:22:28,840 --> 00:22:32,240 Speaker 1: is a huge change that you know, you can hear 347 00:22:32,280 --> 00:22:35,240 Speaker 1: a New York followed by concert in Moscow or in Adelaide. 348 00:22:35,840 --> 00:22:40,000 Speaker 1: I think that never happened before. So technologies, technology is 349 00:22:40,160 --> 00:22:42,640 Speaker 1: you know, we've taken hold of it, and I think 350 00:22:42,640 --> 00:22:48,320 Speaker 1: that's important. We just did our first television show that 351 00:22:48,440 --> 00:22:51,520 Speaker 1: we did in house. We brought the people and we 352 00:22:51,600 --> 00:22:54,639 Speaker 1: directed it, and we did a concert from here for 353 00:22:54,760 --> 00:22:58,080 Speaker 1: Chinese New Year's I'm told it was watched by a 354 00:22:58,119 --> 00:23:03,160 Speaker 1: hundred million people. That's extraordinary that a classical music show 355 00:23:03,240 --> 00:23:05,280 Speaker 1: was watched by a hundred million people. How have you 356 00:23:05,359 --> 00:23:07,719 Speaker 1: changed during the time you've been here? How have I changed? 357 00:23:08,119 --> 00:23:10,400 Speaker 1: Have you enjoyed being in New York? Yeah? I loved it, 358 00:23:11,320 --> 00:23:13,439 Speaker 1: loved it. You're going back to Chicago, going back to 359 00:23:13,520 --> 00:23:16,400 Speaker 1: Chicago Cheople to live there, and my family is there, 360 00:23:16,560 --> 00:23:19,840 Speaker 1: my daughter, But otherwise we would stay here. My wife 361 00:23:19,920 --> 00:23:22,560 Speaker 1: is not very happy about leaving New York. She's happy 362 00:23:22,600 --> 00:23:25,600 Speaker 1: to go for the reasons I just said, but we're 363 00:23:25,600 --> 00:23:27,640 Speaker 1: both unhappy to leave here. If you had enough money, 364 00:23:27,640 --> 00:23:30,480 Speaker 1: i'd keep appeared that they're here. Sure are you gonna 365 00:23:30,640 --> 00:23:33,280 Speaker 1: basically retire when you're there? Are you gonna still look 366 00:23:33,320 --> 00:23:38,480 Speaker 1: I'm I'm not my father, as I said, work till 367 00:23:38,520 --> 00:23:40,879 Speaker 1: he was ninety two. My grandfather worked till he was 368 00:23:40,960 --> 00:23:42,760 Speaker 1: ninety two. I don't know if I worked till I'm 369 00:23:42,840 --> 00:23:44,919 Speaker 1: ninety two. And it's not because of that, But I 370 00:23:45,000 --> 00:23:47,720 Speaker 1: just don't feel like I can sit at home and 371 00:23:47,760 --> 00:23:49,680 Speaker 1: do nothing or go and play golf. I'm not that 372 00:23:49,680 --> 00:23:53,960 Speaker 1: type when you're home now. First of all, I wanted 373 00:23:53,960 --> 00:23:57,800 Speaker 1: to mention you enjoy going to the concert hall. Uh. 374 00:23:58,440 --> 00:24:00,359 Speaker 1: In the time I've known, you're never more happy and 375 00:24:00,359 --> 00:24:02,840 Speaker 1: never more relaxed than when the music is playing. And 376 00:24:02,880 --> 00:24:06,960 Speaker 1: you still have a high degree of appreciation and real 377 00:24:07,080 --> 00:24:11,320 Speaker 1: love of concert music, which I find is not mutual 378 00:24:11,400 --> 00:24:14,960 Speaker 1: exclusive from but interesting considering your wife, who's very, very critical. 379 00:24:15,680 --> 00:24:19,440 Speaker 1: I always know what's what in the concert world, dilettante 380 00:24:19,480 --> 00:24:22,520 Speaker 1: that I am, this pianist, this conductor. By looking at 381 00:24:22,600 --> 00:24:25,159 Speaker 1: Carmen Menta's response, you don't want to go to the 382 00:24:25,160 --> 00:24:28,720 Speaker 1: opera with her, they don't. She's even more vocal, she's 383 00:24:28,720 --> 00:24:31,400 Speaker 1: even more harsh in her judgments because she's an opera file. 384 00:24:32,760 --> 00:24:37,120 Speaker 1: But she's a singer, so you know that comes naturally 385 00:24:37,160 --> 00:24:38,840 Speaker 1: to her. But when the two of your home. Do 386 00:24:38,880 --> 00:24:43,960 Speaker 1: you listen to music? Sometimes? You know, we basically we 387 00:24:44,040 --> 00:24:46,920 Speaker 1: don't put our background music. First of all, I listened 388 00:24:46,920 --> 00:24:50,280 Speaker 1: to music that I really want to hear, and often 389 00:24:50,560 --> 00:24:53,720 Speaker 1: on a Saturday afternoon or something out here, I'm reading 390 00:24:53,720 --> 00:24:56,399 Speaker 1: the paper and the dead and Carmen's got we have 391 00:24:56,400 --> 00:24:59,359 Speaker 1: a little player in the bedroom and she's off listening 392 00:24:59,400 --> 00:25:04,320 Speaker 1: to Bach that's her go to. Yeah, she just you know, 393 00:25:04,480 --> 00:25:20,240 Speaker 1: and I agree with her. Listening to music has been 394 00:25:20,760 --> 00:25:24,520 Speaker 1: so much a part of my life and absorbing it. 395 00:25:25,440 --> 00:25:30,280 Speaker 1: And I must say, when anything goes wrong with my life, 396 00:25:30,359 --> 00:25:33,400 Speaker 1: or with my thoughts or with my family, I think 397 00:25:33,440 --> 00:25:37,720 Speaker 1: it is the constant help to have a musical phrase, 398 00:25:38,560 --> 00:25:42,320 Speaker 1: the line of a poem. In my mind. That means 399 00:25:42,840 --> 00:25:47,919 Speaker 1: music has fed the internal life. So it's fine and 400 00:25:47,960 --> 00:25:53,600 Speaker 1: you're never lonely. Sometimes I just put the paper down 401 00:25:54,160 --> 00:25:58,159 Speaker 1: here the well temple coming through, and you're like, you like, 402 00:25:58,600 --> 00:26:02,879 Speaker 1: oh yeah, well, there's a kind of order to it. 403 00:26:02,960 --> 00:26:07,520 Speaker 1: There's a kind of clarity, there's a rhythm. It just 404 00:26:07,680 --> 00:26:11,520 Speaker 1: is uplifting. There's a joyousness to his music, which I 405 00:26:11,560 --> 00:26:16,680 Speaker 1: find extraordinary. Same thing with Mozart. All those adjectives apply 406 00:26:16,800 --> 00:26:21,879 Speaker 1: to Mozart. And I guess Beetho, and I mean it 407 00:26:21,920 --> 00:26:25,520 Speaker 1: sounds pretty tried. With no Shubert. I want to hear 408 00:26:25,560 --> 00:26:59,680 Speaker 1: the Shubert. I love Shugart shoe with song. Oh who's 409 00:26:59,680 --> 00:27:06,760 Speaker 1: somewhere You're indifferent too, you haven't got enough. Give me 410 00:27:06,920 --> 00:27:11,320 Speaker 1: one example of someone, and without being from the nineteenth century, 411 00:27:11,359 --> 00:27:14,399 Speaker 1: that you think has been given a very very generous 412 00:27:14,560 --> 00:27:18,680 Speaker 1: airing someone but you consider lucky. Well, I can't think 413 00:27:18,680 --> 00:27:21,840 Speaker 1: of anybody. I think the people who want to survive 414 00:27:22,160 --> 00:27:26,439 Speaker 1: are the ones that absolutely, absolutely and the same thing 415 00:27:26,440 --> 00:27:29,640 Speaker 1: will happened in this century. You know, Shostakovich is going 416 00:27:29,720 --> 00:27:33,960 Speaker 1: to survive, Benjamin Britten is going to survive. So there's 417 00:27:34,000 --> 00:27:36,680 Speaker 1: not a time you're sitting there with Alan or with 418 00:27:37,280 --> 00:27:39,920 Speaker 1: Mozelle before that and they say I want to play 419 00:27:39,960 --> 00:27:41,880 Speaker 1: the blah blah blah, and you will say, oh god, 420 00:27:41,920 --> 00:27:46,080 Speaker 1: whatever you do, don't play there anyway, of course, But 421 00:27:47,800 --> 00:27:51,920 Speaker 1: because it's composer specific, and don't forget that in today's world, 422 00:27:52,000 --> 00:27:55,800 Speaker 1: if you look at the composers of today, each conductor 423 00:27:55,880 --> 00:28:00,360 Speaker 1: or pianist or alienist will have his or her not 424 00:28:00,400 --> 00:28:04,120 Speaker 1: necessarily favorite with people they feel that they want to perform, 425 00:28:04,200 --> 00:28:07,240 Speaker 1: and there's others they don't feel like performing. I think 426 00:28:07,760 --> 00:28:14,399 Speaker 1: I think there's a difference. Of course, Look you with me. 427 00:28:14,480 --> 00:28:17,199 Speaker 1: When many Acts did his hundredth concerts with the New 428 00:28:17,240 --> 00:28:19,360 Speaker 1: Yorker The Money, and he played this piece of Messieur, 429 00:28:24,160 --> 00:28:27,920 Speaker 1: he'd never played it before. We talked him into it. 430 00:28:28,000 --> 00:28:29,800 Speaker 1: Is he going to play it again? I don't know. 431 00:28:31,040 --> 00:28:33,320 Speaker 1: Did he like it? He said, I got to play 432 00:28:33,320 --> 00:28:34,960 Speaker 1: it a few more terms before I could say I 433 00:28:35,000 --> 00:28:37,520 Speaker 1: like it. But there are other pianists who endore the 434 00:28:37,560 --> 00:28:41,440 Speaker 1: piece and plate all the time. So I think that's 435 00:28:41,520 --> 00:28:45,480 Speaker 1: perfectly natural. I mean, these are people who are recreating something. 436 00:28:45,840 --> 00:28:49,760 Speaker 1: They have to feel something, they have to be on 437 00:28:49,760 --> 00:28:54,160 Speaker 1: the same plate. You have seen the greatest people. What's 438 00:28:54,200 --> 00:28:57,480 Speaker 1: something you watch one of the greats that you watch soloist, 439 00:28:57,960 --> 00:29:02,200 Speaker 1: vocalist conduct. You sat there and you just gasp and said, 440 00:29:02,200 --> 00:29:04,440 Speaker 1: my god, I'm so happy I was here to see this. Yeah. 441 00:29:04,800 --> 00:29:07,000 Speaker 1: I mean, one of the things that stands out in 442 00:29:07,120 --> 00:29:11,480 Speaker 1: my mind was the concert we did right after nine eleven, 443 00:29:13,000 --> 00:29:16,000 Speaker 1: and we were supposed to do a concert with Anna 444 00:29:16,040 --> 00:29:18,360 Speaker 1: Sophi Muta playing Beethoven and so, and of course she 445 00:29:18,400 --> 00:29:21,280 Speaker 1: didn't come, and we decided we couldn't do that kind 446 00:29:21,320 --> 00:29:25,880 Speaker 1: of an opening night. And Kurt Massour was in Europe 447 00:29:25,880 --> 00:29:28,560 Speaker 1: and I called him and I said, I think we 448 00:29:28,560 --> 00:29:32,680 Speaker 1: should do a concert. We shouldn't cancel it, and how 449 00:29:32,680 --> 00:29:38,000 Speaker 1: about if you consider doing the Browns Requiem And he 450 00:29:38,080 --> 00:29:41,520 Speaker 1: said absolutely, And I said, I have Tom Hamson who's 451 00:29:42,000 --> 00:29:44,719 Speaker 1: ready to do it. The chorus are ready to do it. 452 00:29:45,200 --> 00:29:48,360 Speaker 1: The orchestras on its way back from Stuttgart where they 453 00:29:48,360 --> 00:29:52,240 Speaker 1: are stuck during nine eleven. And so he came and 454 00:29:52,280 --> 00:29:57,120 Speaker 1: did it. And I made a little speech to welcome everybody, 455 00:29:57,120 --> 00:30:00,520 Speaker 1: and I said, and please no plow said the end, 456 00:30:00,560 --> 00:30:11,040 Speaker 1: just hold hands, look at each other. Court was a 457 00:30:11,080 --> 00:30:17,959 Speaker 1: great conductor, really did something spiritually extraordinary that evening, and 458 00:30:18,040 --> 00:30:20,840 Speaker 1: everybody was there felt that, and I don't think there 459 00:30:20,880 --> 00:31:18,520 Speaker 1: was a dry eye in the house. The other one 460 00:31:18,560 --> 00:31:21,440 Speaker 1: that comes to mind was when we played in Dresden. 461 00:31:22,680 --> 00:31:25,719 Speaker 1: We did three concerts in Dresden in two thousand and 462 00:31:25,800 --> 00:31:30,120 Speaker 1: five for the reopening of the Church of Our Lady, 463 00:31:30,600 --> 00:31:32,880 Speaker 1: which was bombed in the waning days of the Second 464 00:31:32,880 --> 00:31:36,160 Speaker 1: World War during the fire bombing, and it stayed as 465 00:31:36,160 --> 00:31:40,240 Speaker 1: a rubble until the mid nineties when they put money 466 00:31:40,280 --> 00:31:46,160 Speaker 1: together to rebuild it and a remarkable. Man came to 467 00:31:46,200 --> 00:31:50,480 Speaker 1: see me and said, you know, we don't know who 468 00:31:50,560 --> 00:31:55,280 Speaker 1: bombed Dresden, but it would be good if an American 469 00:31:55,360 --> 00:31:59,360 Speaker 1: orchesta was to go and play there. I went dressed, 470 00:31:59,360 --> 00:32:02,040 Speaker 1: and I met of people and we agreed to play 471 00:32:02,080 --> 00:32:06,840 Speaker 1: there with Lauren conducting, and Folks Fable, which had built 472 00:32:06,840 --> 00:32:10,920 Speaker 1: a factory there, sponsored the concerts. We've got a German 473 00:32:10,920 --> 00:32:15,400 Speaker 1: cellist to play a work written specifically for that event 474 00:32:15,880 --> 00:32:19,760 Speaker 1: by an Englishman. So we had three culpable parties if 475 00:32:19,760 --> 00:32:27,720 Speaker 1: you want who participated. And we finished the concert with 476 00:32:28,360 --> 00:33:07,120 Speaker 1: Death and Transfiguration Rick hard Strauss. And that was a magical, magical, 477 00:33:07,560 --> 00:33:12,560 Speaker 1: unbelievable moment in this church sharing this music. It seemed 478 00:33:12,560 --> 00:33:17,200 Speaker 1: like it was written for that occasion. And people were 479 00:33:17,240 --> 00:33:20,600 Speaker 1: standing outside as the orchestra because there were no dressing us, 480 00:33:20,640 --> 00:33:23,320 Speaker 1: of course in a church, and they walked out. It 481 00:33:23,480 --> 00:33:44,440 Speaker 1: was a remarkable magic moment. My good friends, Zaron Maideer 482 00:33:44,520 --> 00:33:47,800 Speaker 1: and his wife Carmen, have packed up and moved to Chicago. 483 00:33:48,400 --> 00:33:51,240 Speaker 1: Carmen told me they were apartments sold in record time. 484 00:33:52,120 --> 00:33:54,560 Speaker 1: Our apartment went up and there was only a couple 485 00:33:54,560 --> 00:33:58,440 Speaker 1: of weeks, and we were told that it had been 486 00:33:58,520 --> 00:34:01,960 Speaker 1: made it offer on. It turns out to be as 487 00:34:01,960 --> 00:34:09,400 Speaker 1: therein successor, Matthew van Beeson. Now, Matthew was running around 488 00:34:09,400 --> 00:34:12,160 Speaker 1: with his agent and unaware that it was your apartment 489 00:34:12,719 --> 00:34:15,600 Speaker 1: until they came into our apartment. It was just an 490 00:34:15,600 --> 00:34:18,040 Speaker 1: open house. So he came into the department thought he 491 00:34:18,480 --> 00:34:21,680 Speaker 1: liked it. Obviously it's in a very good place for 492 00:34:22,239 --> 00:34:25,680 Speaker 1: working at the Philharmonic. And as he's walking through the rooms, 493 00:34:26,160 --> 00:34:28,560 Speaker 1: we have our pictures and pictures of all kinds of 494 00:34:28,640 --> 00:34:31,719 Speaker 1: musicians all over the place. So he finally realized that 495 00:34:31,760 --> 00:34:34,759 Speaker 1: he was in our apartment. And when he told me 496 00:34:34,800 --> 00:34:36,840 Speaker 1: that I really liked was what gave it away was 497 00:34:36,880 --> 00:34:39,640 Speaker 1: the collection of the CDs he said. He said he 498 00:34:39,680 --> 00:34:41,560 Speaker 1: saw the music on the wall and he went, who 499 00:34:41,640 --> 00:34:44,480 Speaker 1: the hell are these people? Look at this stuff? They 500 00:34:44,880 --> 00:34:47,759 Speaker 1: and I'm happy to say we can leave all our 501 00:34:48,120 --> 00:34:51,240 Speaker 1: LPs because we don't have the equipment to play them anymore. 502 00:34:51,600 --> 00:34:54,719 Speaker 1: And Matthew does so that's great, so we don't have 503 00:34:54,800 --> 00:34:57,840 Speaker 1: to think about packing them up and sending what's the 504 00:34:57,880 --> 00:35:00,680 Speaker 1: proposed of the LPs stay with the apartment whoever buys 505 00:35:00,719 --> 00:35:03,239 Speaker 1: the apartment. I'm not suggesting that the apartment become the 506 00:35:03,280 --> 00:35:06,799 Speaker 1: official residences that were of the executive director of the Philharmonic. 507 00:35:06,840 --> 00:35:11,600 Speaker 1: But it's just the right place to be. Even though 508 00:35:11,600 --> 00:35:15,080 Speaker 1: I will see you again, it truly, truly, truly, it 509 00:35:15,120 --> 00:35:17,640 Speaker 1: will not be the same, not, I want to say, 510 00:35:17,760 --> 00:35:20,320 Speaker 1: not the same without you plural meaning you and your husband. 511 00:35:20,520 --> 00:35:23,799 Speaker 1: It won't be the same without you sitting next to 512 00:35:23,840 --> 00:35:26,440 Speaker 1: you and sitting in that box with you with some 513 00:35:26,520 --> 00:35:28,160 Speaker 1: of the most fun I've ever had in my life. 514 00:35:28,880 --> 00:35:34,160 Speaker 1: For this is Alec Baldwin and you're listening to Here's 515 00:35:34,200 --> 00:35:38,279 Speaker 1: the Thing. Thanks this week to Mark Travis and the 516 00:35:38,320 --> 00:35:39,440 Speaker 1: New York Philharmonic.