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Speaker 1: I'm Alec Baldwin and you're listening to here's the thing

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Speaker 1: from my Heart Radio. That's the n h K Symphony

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Speaker 1: Orchestra conducted by my guest today, Pavo Yarv performing Wagner's

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Speaker 1: Dust Rhinegold The Entry of the Gods into Valhalla. Pavo

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Speaker 1: Yarvi is one of the most in demand maestros in

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Speaker 1: the world. He's currently the chief conductor of both the

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Speaker 1: nhkse Symphony Orchestra and the tom Hall or s to Zurich.

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Speaker 1: Over his career, he has also led orchestras in Paris, Frankfurt, Stockholm, Malmo,

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Speaker 1: and for the decade between two thousand one and two

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Speaker 1: thousand eleven here in the US in Cincinnati. Pavo Yarvy

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Speaker 1: was born into a musical family in Soviet era Estonia.

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Speaker 1: His father, Neme and his brother Christian are both also conductors.

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Speaker 1: The family defected to New Jersey in night when Pavo

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Speaker 1: was seventeen years old. As one of the most respected

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Speaker 1: conductors in the world, Pavo Yarv travels a lot. When

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Speaker 1: the pandemic struck last year, he found some freedom in

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Speaker 1: staying put. It was one of those sort of amazing moments,

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Speaker 1: because first of all, we never thought it would be

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Speaker 1: three months. We thought, oh, it's going to be maybe

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Speaker 1: a couple of weeks, and then things will get better.

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Speaker 1: And then you realize it's going to be a bit more,

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Speaker 1: and then a bit more again, and then you realize that, okay,

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Speaker 1: this is now indefinite. We don't know how long it's

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Speaker 1: going to be. And you know, something happens in your

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Speaker 1: brain when this happened. I'm sure you went through the

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Speaker 1: same thing. But I started. First of all, I was

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Speaker 1: kind of restless, and I started learning the things that

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Speaker 1: I was supposed to do, even though I knew that

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Speaker 1: they were going to be canceled. And then I slowly

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Speaker 1: started doing less of it. And then I started doing

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Speaker 1: a lot of nothing. And and when you started doing nothing,

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Speaker 1: an interesting thing happens. At least happened to me. My

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Speaker 1: brain started working in an entirely different way. I didn't

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Speaker 1: live by the schedule first time in twenty five years

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Speaker 1: or thirty years. Even I didn't need to wake up

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Speaker 1: at eight, I didn't need to catch the train, I

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Speaker 1: didn't need to catch the plane or go to a

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Speaker 1: rehearsal be prepared. And then all of a sudden, interesting things.

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Speaker 1: You start thinking about different things. You know, why am

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Speaker 1: I doing all of this stuff? I think this is

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Speaker 1: so great to actually wake up in your own bed,

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Speaker 1: and also to know that next day and day after

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Speaker 1: it's also your band. And then you start questioning this

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Speaker 1: sort of slightly philosophical things, like I am not so

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Speaker 1: young anymore, even though I feel like a kid. How

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Speaker 1: many years of active life do I have? Do I

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Speaker 1: really need to be on the schedule like this for

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Speaker 1: the rest of my sort of the schedule you've been

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Speaker 1: on for quite a while thirty years. Yeah, the schedule.

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Speaker 1: But the interesting you say that because you know a

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Speaker 1: lot of people in the professional world I live in,

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Speaker 1: whether it's acting in film and television or theater, and

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Speaker 1: then maestro's soloists and so forth. They're like race horses.

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Speaker 1: And what the COVID did was it allowed them to

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Speaker 1: just go into the corral and to eat some grass.

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Speaker 1: And they said, well, maybe I want to go running,

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Speaker 1: but I do necessarily want to race. I don't want

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Speaker 1: it to be competitive. I'd like to go run on

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Speaker 1: the beach. I'm a horse and I want to go

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Speaker 1: take a run for something exactly. And you realize that

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Speaker 1: when you gave people these bunches of time, they started

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Speaker 1: this journey to get back to their true nature of

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Speaker 1: what it is they like, I think, exactly right. And

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Speaker 1: I also think that you don't have enough time in

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Speaker 1: your schedule or in your brain to really think. You know,

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Speaker 1: it's a funny thing because I'm thinking all the time,

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Speaker 1: but I'm thinking about things that I need to think about,

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Speaker 1: the things that need to be prepared. I need to

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Speaker 1: learn this, I need to make that schedule. I have

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Speaker 1: an interview coming up, I have a television thing, I

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Speaker 1: have a recording whatever. But these are the things you

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Speaker 1: have to do, and you have to because you have

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Speaker 1: a deadline. But the kind of thinking that happens when

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Speaker 1: you have no deadline is so much more valuable and

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Speaker 1: interesting ideas start coming and said like why not? Why

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Speaker 1: didn't I ever think about this before? Well, I didn't

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Speaker 1: have time. I didn't have time, I was was no room,

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Speaker 1: sort of trying to catch up all the time rather

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Speaker 1: than just schedule heavily scheduled. Man, one thing you don't

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Speaker 1: realize about people in the classical repertoire, I said, is

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Speaker 1: these are people who know exactly where they're going to

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Speaker 1: be on August fifteen, three years from now. Absolutely, they've

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Speaker 1: booked festivals, and they booked concerts. These things are booked

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Speaker 1: out so far. And but I want to pivot here

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Speaker 1: and ask you as I was reading about your your biography,

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Speaker 1: and I want to talk to you about popular music

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Speaker 1: and rock and roll music and the boy from Estonia

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Speaker 1: who had to smuggle cassettes of rock music and then

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Speaker 1: set up a drum set. Tell me about your relationship

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Speaker 1: and what I'm looking for really is the scene between

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Speaker 1: the two. Are you a man who there was a

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Speaker 1: sense of a duty because of your dad? I remember

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Speaker 1: watching in the documentary that you said that your father

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Speaker 1: had the classical music playing on the radio or on

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Speaker 1: an album or cassette all day long, and in the

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Speaker 1: middle of the family dinner, he go wait and he'd

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Speaker 1: want to hear the passage or whatever the moment. Now

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Speaker 1: was classical music something? It was a feed a complete

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Speaker 1: for you because of your dad. It was a true passion.

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Speaker 1: It was both And were you two different people that

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Speaker 1: craved two different sources of music? I think the answer

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Speaker 1: the first thing is that I think the difference and

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Speaker 1: the distance between these two types of music is actually

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Speaker 1: not so big. In fact, I don't really see any distance.

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Speaker 1: I don't think that there is any difference between rock music,

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Speaker 1: jazz music, or classical music if because on the highest

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Speaker 1: levels of it, it is just as much hard work,

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Speaker 1: and it requires just as much talent and requires just

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Speaker 1: as much skill. Very specific to that particular field. For me,

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Speaker 1: when I have dinner with with with my girls, you know,

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Speaker 1: we listened to Eta James, we listened to you know,

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Speaker 1: Billie Eilish, We listened to a lot of the stuff.

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Speaker 1: I even play some of the rock music that they

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Speaker 1: have no idea, but I said, listen to this, and

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Speaker 1: this is oh, this is great, that this is led Zeppelin,

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Speaker 1: let who fifteen and seventeen years old. Some of the

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Speaker 1: greatest names in music history, pop music history are totally

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Speaker 1: unknown to them, just like in films. And it is

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Speaker 1: very interesting for me to realize that my girls actually

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Speaker 1: know who Bah Who was Bad Home and Chekhov's Quarter.

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Speaker 1: They don't know a lot of you know, if you

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Speaker 1: say who would be to Gabriel, they say, I don't know.

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Speaker 1: And it's one of the greatest of grades, you know.

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Speaker 1: And so the distance between these two fields, or the

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Speaker 1: arts in general, is very short, and it's not actually

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Speaker 1: at all for me. It was never that I wanted

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Speaker 1: to become a rock and roll drummer. I just did

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Speaker 1: it because I loved playing it. But I was actually

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Speaker 1: studying drums in school, and it was a natural, totally,

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Speaker 1: totally natural connection from just being a drummer, you know,

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Speaker 1: like most of the bass players in symphony orchestras are

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Speaker 1: all sort of quietly fantasizing being the great rock players

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Speaker 1: in in in the rocky Yes, absolutely, and so it's

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Speaker 1: not actually so different. And one of the things that

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Speaker 1: was interesting that you just said, I was never forced

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Speaker 1: into music. I love the fact that I never had

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Speaker 1: to make a decision. I have two girls right now

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Speaker 1: who don't know. They're very talented, but they don't know

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Speaker 1: what am I going to do in life. I never

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Speaker 1: had ever that question because I wanted to not only

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Speaker 1: to be a musician. I wanted to be a conductor

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Speaker 1: way before. Why because my father was a conductor. I

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Speaker 1: love my father. I think he was having a lot

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Speaker 1: of fun and we're very close to this day. So

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Speaker 1: it was done. It was a done deal. I wanted

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Speaker 1: to be a conductor, and I never ever wanted to

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Speaker 1: be anything else ever, and and so it is maybe

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Speaker 1: a little bit unusual. But the point of the story

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Speaker 1: is that I think that if somebody sort of makes

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Speaker 1: it fun for you when you're a kid, it stays

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Speaker 1: with you. You know. If somebody forces you, that's a

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Speaker 1: different story. But I was never forced. Your family left Estonia.

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Speaker 1: Your father conducted a piece, if I read this correctly,

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Speaker 1: without what we're considered the necessary permissions back well, the

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Speaker 1: audible Credo, and Credo is on the religious text, and

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Speaker 1: Arbo Parrett was a kind of a dissident composer. Now

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Speaker 1: he's of course the legend, you know, but my father

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Speaker 1: was not supposed to do it, and he did it anyway,

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Speaker 1: and it was a huge scandal, and it was basically

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Speaker 1: it was bordering on a on a kind of you

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Speaker 1: might be deported or you might be sent to someplace

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Speaker 1: really cold, and well, then was happening when you were

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Speaker 1: how old? I was probably eleven something like that. Was

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Speaker 1: a young child. That's when you head over to New York,

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Speaker 1: you know. We came to New York when I was

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Speaker 1: around seventeen. But that incident sort of started the the

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Speaker 1: whole term and longer processes, a long process. Yes, So

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Speaker 1: you came when you were seventeen. You come and you

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Speaker 1: talk about seeing as many people on the highway coming

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Speaker 1: from the airport into the city as we're in your

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Speaker 1: entire town or country. You're wearing all of us stony,

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Speaker 1: exactly right, and you thought that no one's gonna find

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Speaker 1: me here, No one's gonna I'm gonna get so lost here.

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Speaker 1: You know, if you live in a country of one

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Speaker 1: and a half million people and you're isolated because it's

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Speaker 1: an Iron Curtain Soviet Union, you go to Kennedy Airport

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Speaker 1: and then you take the highway and you see no

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Speaker 1: four lanes this way and four lanes that way, and

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Speaker 1: you literally you haven't even seen it in films. I

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Speaker 1: mean it was that it was this dramatic, you know,

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Speaker 1: So I thought, Okay, nobody will find me here. No.

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Speaker 1: Obviously your father had this reputation. I'm sure when he

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Speaker 1: came to New York he was not without contacts, without friends.

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Speaker 1: He had people he could plug into here. Correct, absolutely absolutely,

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Speaker 1: And in fact, my father was a very well known

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Speaker 1: conductor back in in in a Soviet Union and in Europe.

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Speaker 1: But you know, since the Soviet Union was closed and

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Speaker 1: Iron Curtain was very much, you know, a real thing.

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Speaker 1: The actual possibility to make contacts in the West only

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Speaker 1: came when you were allowed to travel, and he occasionally

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Speaker 1: was allowed to travel, and in fact, he even conducted

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Speaker 1: in Metropolitan opera. He conducted on Egging and met a

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Speaker 1: lot of local Estonian expats in in America. You know,

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Speaker 1: in New Jersey and New York has a very large

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Speaker 1: Estonian community. And you know, it was fun fact for

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Speaker 1: you to perhaps to notice that that almost every big

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Speaker 1: city in the world, but also in the United States,

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Speaker 1: has what they call an Estonian house. That was a

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Speaker 1: little community centers where Estonians would speak Estonian, would do

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Speaker 1: the folk dancing, that would do the male choir singing,

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Speaker 1: they would have the newspaper published, they would have Estonian independence. Observed,

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Speaker 1: it was a little place in every in Chicago, in

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Speaker 1: New York, in Los Angeles, in New Zealand, in London,

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Speaker 1: in Paris, everywhere there was an Estonian house. So there

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Speaker 1: are a lot of Estonians scattered around the world. And

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Speaker 1: one of those people actually brought us and gave us

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Speaker 1: refuge when we came here. When you get to New York,

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Speaker 1: how does it begin for you? You knew you wanted

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Speaker 1: to be a conductor. You eventually end up at Curtis

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Speaker 1: and so forth. But what's the beginning for you when

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Speaker 1: you land in the United States? How does your education begin?

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Speaker 1: The very first thing is the language, because when we

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Speaker 1: came to the United States, within speaking perhaps hello, goodbye,

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Speaker 1: nice to meet you, and that was about it. So

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Speaker 1: this was the first thing which had to be kind

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Speaker 1: with our Estonian family, Pushtrums were their names. I was

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Speaker 1: seventeen years old. So we went to the high school

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Speaker 1: in New Jersey and it was in fact one of

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Speaker 1: those really nice moments where we became and slowly learned

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Speaker 1: the language through speaking with other kids. Are trying to

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Speaker 1: speak with other kids, and of course they never knew

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Speaker 1: what the Estonian is like. And they said, oh, there's

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Speaker 1: two Russian kids, because it was with my sister, two

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Speaker 1: Russian kids. And I said, no, no, no, we're not Russians.

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Speaker 1: Were Estonians. Oh a Storia Queen's no, no Estonia. Then

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Speaker 1: already applying to schools, I went to Julia Pre College,

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Speaker 1: I went to a University of is How does that happen?

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Speaker 1: Because of your father's reputation, that introduction that an introduction

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Speaker 1: has made. No, no, not at all. No. In fact,

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Speaker 1: what you have to do is that there's an audition

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Speaker 1: that you send in new application, and you have to do.

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Speaker 1: And you knew you wanted that, you knew you wanted Juilliard.

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Speaker 1: I was dreaming about Julliard and I was. I got

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Speaker 1: into a pre college as a percussionist, and from there

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Speaker 1: on John Barnum of Estonia, I think there are better

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Speaker 1: drummers than me, much better drummers than me in Estonia.

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Speaker 1: But but actually there is a very very active rock

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Speaker 1: scene also in Estonia. But mainly Estonia is known for

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Speaker 1: its classical music of course, but but but the rock

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Speaker 1: and the pop music, and it's it's actually very very

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Speaker 1: big there and it's a very good some very very

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Speaker 1: good artists. And what was the pre college program at Julia?

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Speaker 1: How did you find out? What was that like? Well,

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Speaker 1: first of all, I had to travel every morning, get

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Speaker 1: up at six from New Jersey, get a bus, go

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Speaker 1: to Port Authority terminal, then walk. But that was a

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Speaker 1: fourth It was a forty second street, the old fashioned way,

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Speaker 1: not not the cleaned up gentrified Disney thing. It was,

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Speaker 1: you know, and I barely spoke English so I always

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Speaker 1: remember the moment where I was walking from the the

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Speaker 1: terminal to Juilliard and the girl came up to me.

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Speaker 1: A lady came up to me and said, do you

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Speaker 1: have time? And I was sort of struggled and I said, yes,

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Speaker 1: it's it's seven o'clock am. And then she looked at

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Speaker 1: me kind of walked away in disgusted. I think she

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Speaker 1: obviously didn't she had yes, she didn't really want to

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Speaker 1: know what time it was. She wanted you to know

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Speaker 1: what time it was. But anyway, so you made it

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Speaker 1: up to sixty six Street, and when you get there,

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Speaker 1: what kind of work are you doing? Well? First of all,

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Speaker 1: we had theory lessons, we had air training, we had selfish,

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Speaker 1: we had a percussion the major lesson. But the most

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Speaker 1: interesting thing was always the orchestra. It was a pre

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Speaker 1: college orchestra, and orchestra was full of really wonderful, wonderful musicians,

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Speaker 1: a lot of them on a lot of them, but

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Speaker 1: some of them I'm still very closely connected, and they

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Speaker 1: are now well known musicians. And you would every time

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Speaker 1: have an orchestra rehearsal, and the conductor was was rehearsing

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Speaker 1: and you are playing timpani, and you are kind of

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Speaker 1: all in that world. You can see what the conductor

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Speaker 1: test tells to the strings, and you see how the

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Speaker 1: brass players react to some comments, and you know, all

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Speaker 1: of a sudden, in the back of the orchestra, you

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Speaker 1: are actually doing much more than learning how to play tympany.

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Speaker 1: You're learning how the process of conducting is actually happening

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Speaker 1: and what is important? How what are the things that

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Speaker 1: you like about the way the conductor asked the musicians? What? What?

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Speaker 1: What turns you off? What makes you angry? What makes

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Speaker 1: you laugh? Who is popular? Who is less? You know

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Speaker 1: it is it's a whole process. Yeah, and that process

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Speaker 1: is very much to do with also human ability. You know,

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Speaker 1: some conductors can know everything, but they can piece everybody

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Speaker 1: off in the first three minutes, and nobody will want

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Speaker 1: to hear what they say. And other people they do

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Speaker 1: they close off, Yes, they close off, and they immediately

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Speaker 1: build a kind of a barrier between themselves and the conductor.

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Speaker 1: And you know, there is not so much love sort

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Speaker 1: of laws between orchestral musicians and conductors anyway, from the

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Speaker 1: kind of older history of the kind of tyrannical conductors,

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Speaker 1: which of course now is not the case anymore because

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Speaker 1: the society is different. But there is a kind of

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Speaker 1: a built in distrust and musicians always listen to the teachers,

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Speaker 1: and teachers say, oh, you know, conductors, they can be this,

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Speaker 1: they can be that. So it was an interesting kind

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Speaker 1: of experience to see how the process works. Conductor Pavo

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Speaker 1: r V. If you love the stories of life on

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Speaker 1: the podium, be sure to check out my conversation with

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Speaker 1: Finnish composer and conductor Sapeka salmon In. When he arrived

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Speaker 1: in the United States to conduct the Los Angeles Philharmonic,

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Speaker 1: he loved leaving behind the arrogance of the European classical

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Speaker 1: music world. When I started out in l A, I

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Speaker 1: had this some kind of residue from this European thing

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Speaker 1: that okay, I'm here to bring some kind of culture

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Speaker 1: to elevate you. Yeah, this culture has medicine kind of

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Speaker 1: thing which is vile. And it was an interesting process

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Speaker 1: because I I was talking about things, you know, the

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Speaker 1: way we used to in in your post days, and

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Speaker 1: you know, with this kind of historic necessity of a

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Speaker 1: tonal music and listen that and people were very nice,

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Speaker 1: they said, oh yeah, great, interesting, But how does it

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Speaker 1: sound asking these questions that are the obvious questions that

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Speaker 1: everybody should ask, but we went for some reason asking

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Speaker 1: here more of my conversation with Maestro Speka Salmon and

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Speaker 1: here's the thing dot Org. After the break, Pavo Yarv

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Speaker 1: talks about the role he plays in the orchestra as

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Speaker 1: the conductor. I'm Alec Baldwin and you're listening to Here's

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Speaker 1: the Thing. This is the sacrificial dance from Igor Stravinsky's

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Speaker 1: The Right of Spring, performed by the n h K

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Speaker 1: Symphony Orchestra in Tokyo. The conductor is my guest today,

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Speaker 1: Pavo Yarv y. Pavo Yarv's home country, Estonia, has a

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Speaker 1: population of just over one point three million and a

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Speaker 1: thriving classical music scene, in part thanks to the r

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Speaker 1: V family. Pavo r vs life and work was featured

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Speaker 1: in the two thousand three documentary Maestro. The film includes

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Speaker 1: interviews with famous classical musicians, talking about your V's talent

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Speaker 1: and explaining the complexities of the classical music world. Violinist

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Speaker 1: Joshua Bell goes so far as to suggest musicians playing

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Speaker 1: at the highest level do not need a conductor Pavo

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Speaker 1: r V wouldn't go that far, but he agrees his

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Speaker 1: job is probably not quite what you think it is.

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Speaker 1: Two things. Number one, I am not a decided per

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Speaker 1: se because I don't believe in this. It's not an

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Speaker 1: autocratic for me. That doesn't work. What works is I

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Speaker 1: invite musicians to see my point of view. And when

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Speaker 1: Joshua or somebody else says that we don't need a conductor,

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Speaker 1: he they are really explaining it to a kind of

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Speaker 1: a layman who doesn't quite understand the nuances, because what

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Speaker 1: they don't need it is somebody to be the policeman

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Speaker 1: in order to organize everything because on that level where

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Speaker 1: he exists and I exist in a New York Philharmonic,

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Speaker 1: and so they can play the piece together and make

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Speaker 1: sure that it doesn't fall apart absolutely without you know,

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Speaker 1: a problem without a conductor. Now, so one would ask

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Speaker 1: why is the conductor important or what what's the role?

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Speaker 1: I'll tell you my view of this is this, somebody

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Speaker 1: has to formulate a point of view. That point of

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Speaker 1: view varies from one conductor to another. And so that

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Speaker 1: is why we still do some standard repertoire because some

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Speaker 1: younger generation people see it in in in a different light.

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Speaker 1: They have, but they have studied the score, they have

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Speaker 1: studied the tradition, and at the end of the day,

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Speaker 1: hundred people cannot make up their mind to be unified.

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Speaker 1: If enough to formulate on the spot of the performance

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Speaker 1: and interesting enough point of view, just getting through something,

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Speaker 1: it's not the goal. It's making something exceptional and finding

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Speaker 1: ways of making an old piece new. That's really the

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Speaker 1: conductor's job. The other thing is that you know most

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Speaker 1: of the people. If let's say you go to New Philharmonic,

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Speaker 1: a fantastic orchestra, they have to do a different program

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Speaker 1: every single week. Every single week, they have at least

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Speaker 1: three new pieces that they need to master. They play

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Speaker 1: all the notes they need to be absolutely perfect. They

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Speaker 1: don't have time to study in depth all the scores

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Speaker 1: for three new pieces. Every research it takes years. It

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Speaker 1: takes years. If it's you, that's that's a conducted job.

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Speaker 1: But I would never say that this is a kind

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Speaker 1: of I decide or I I have a strong point

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Speaker 1: of view, and then I invite them to see it.

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Speaker 1: And actually musicians always look for that. They look for

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Speaker 1: somebody who is going to open the door that illuminates

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Speaker 1: something in the piece, and we're a piece that they've

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Speaker 1: played a hundred times becomes maybe fun again because it

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Speaker 1: has a little front angle, maybe a slightly a different

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Speaker 1: point of view, and you know, there are a lot

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Speaker 1: of subtleties that can make a piece sound new. Well.

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Speaker 1: The reason sometimes I dwell on that topic is because

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Speaker 1: theater mirrors the classical repertoire, because very often you're doing

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Speaker 1: a revival of classic material. So the work of Chekhov,

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Speaker 1: the work of Williams, the work of Miller and O'Neill

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Speaker 1: are like all the great composers. And the joke we

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Speaker 1: always tell in the theater is we know the material works.

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Speaker 1: So if the show's a bomb, it's us, well, you know,

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Speaker 1: we got it wrong. And the director's task is to

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Speaker 1: do what you're saying, is to sell them a clear

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Speaker 1: sense of what the film is they want to make.

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Speaker 1: How do I sell you on my idea and get

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Speaker 1: you to do what I think you should do? Now?

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Speaker 1: As I often say for years when I was the

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Speaker 1: announcer for the Philharmonic, I'm the bat boy for the

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Speaker 1: New York Philharmonic. I'm not really a great pitcher or fielder,

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Speaker 1: but I just love the game. So to speak. But

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Speaker 1: when I see, like, for example, a very easy component

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Speaker 1: of this or analysis of this is I'll go download

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Speaker 1: a piece, and let's use a very basic piece. I'll

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Speaker 1: get the Adagio, the fourth movement of the mall or ninth,

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Speaker 1: and I'll see that high Tink plays it, and he

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Speaker 1: does it in twenty seven minutes. And then I'll see

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Speaker 1: that Mozzelle with the Philharmonic does it in thirty one minutes.

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Speaker 1: It's four minutes longer. And so pace is of course

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Speaker 1: one component. And I want you to share with me,

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Speaker 1: is that in your your realm, you decide or you

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Speaker 1: propose the pace of the piece, the emphasis, what are

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Speaker 1: the knobs and dials you're controlling. One of the most

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Speaker 1: fundamental choices that any performer has to make is a

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Speaker 1: choice of tempo. And it's an interesting thing about tempo

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Speaker 1: in general, because tempo can be a metronomic understanding. You

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Speaker 1: can put the metronomes said, look, this is sixties, so

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Speaker 1: this is exactly how it is. And that's very often

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Speaker 1: how the click tracks and movie soundtracks are made, because

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Speaker 1: it needs to be absolutely precise. And then there is

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Speaker 1: a perception of temple, which is sometimes a great conductor

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Speaker 1: can make a very slow movement so compelling that it

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Speaker 1: doesn't feel slow, it doesn't feel like it never ends.

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Speaker 1: And sometimes an inexperienced conductor or a less talented conductor

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Speaker 1: can do it even a little bit faster whatever, and

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Speaker 1: it feels like it never ends. And if you feel like,

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Speaker 1: my god, this is dragging and this is so boring,

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Speaker 1: And then you look at the timings and actually it

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Speaker 1: was a faster performance that should have been easier to

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Speaker 1: listen to. And so the experience of knowing how to

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Speaker 1: say something has a lot to do with with knowing

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Speaker 1: within the whole process went to speed up, when to

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Speaker 1: take time, this material is repeating, they have to go

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Speaker 1: a little bit forward and so on. So it is

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Speaker 1: it is really a perception of time that matters. And

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Speaker 1: very often an older conductor, as they get slower, but

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Speaker 1: they get slower because they know how to feel that space.

429
00:25:01,600 --> 00:25:05,359
Speaker 1: And very often the very young musicians they do everything

430
00:25:05,400 --> 00:25:07,359
Speaker 1: on adrenaline and said, oh, they're so exciting, you know,

431
00:25:07,880 --> 00:25:11,359
Speaker 1: But then it's all adrenaline and nothing and nothing else.

432
00:25:11,520 --> 00:25:13,280
Speaker 1: You know. Sometimes you look at the old actors and

433
00:25:13,320 --> 00:25:16,200
Speaker 1: they just pause in the middle of the dialogue and

434
00:25:16,240 --> 00:25:18,920
Speaker 1: it's like there's a long silence, and it is. It's

435
00:25:19,000 --> 00:25:22,880
Speaker 1: filled with tension and then some people, in some cases,

436
00:25:23,000 --> 00:25:25,800
Speaker 1: people are afraid of being silent. They just need to

437
00:25:25,840 --> 00:25:38,000
Speaker 1: fill every single moment with the word Conductor Pavo r V.

438
00:25:38,640 --> 00:25:42,320
Speaker 1: If you're enjoying this conversation, be sure to follow Here's

439
00:25:42,359 --> 00:25:45,800
Speaker 1: the thing on the I Heart radio app, Spotify or

440
00:25:45,880 --> 00:25:49,520
Speaker 1: wherever you get your podcasts. When we come back, Pavo

441
00:25:49,760 --> 00:26:00,240
Speaker 1: r V talks about his favorite music to conduct. Ya,

442
00:26:04,040 --> 00:26:07,040
Speaker 1: I'm Alec Baldwin and you're listening to hear the thing.

443
00:26:18,760 --> 00:26:22,600
Speaker 1: This is Pavo Yarvi conducting one of Jean Sibelius's best

444
00:26:22,720 --> 00:26:27,360
Speaker 1: known works of false Triste, performed by the Estonian National Orchestra.

445
00:27:12,960 --> 00:27:16,879
Speaker 1: When the documentary Maestro about Pavo Yarv was released in

446
00:27:16,920 --> 00:27:19,800
Speaker 1: two thousand three, he was the music director of the

447
00:27:19,880 --> 00:27:24,800
Speaker 1: Cincinnati Symphony Orchestra. The film features many performances in the

448
00:27:24,920 --> 00:27:29,320
Speaker 1: orchestra's primary home, Cincinnati Music Hall. It is a fantastic

449
00:27:29,359 --> 00:27:32,639
Speaker 1: acoustics And the thing with this whole is that it

450
00:27:32,680 --> 00:27:36,000
Speaker 1: was built by one of the theft was a president

451
00:27:36,080 --> 00:27:39,200
Speaker 1: and the old old times and there's a women's committee

452
00:27:39,600 --> 00:27:42,680
Speaker 1: in old times Women's Committee's got all these things done.

453
00:27:42,760 --> 00:27:45,320
Speaker 1: If you were a president's wife who collected the women

454
00:27:46,040 --> 00:27:48,840
Speaker 1: of all the rich people around you, and they built

455
00:27:48,880 --> 00:27:53,200
Speaker 1: all that's right. And so what happened is that this

456
00:27:53,440 --> 00:27:57,440
Speaker 1: was built for conventions and concerts and May Festival, which

457
00:27:57,480 --> 00:28:01,440
Speaker 1: was of course the Great Choral Festival still exists in Cincinnati,

458
00:28:01,960 --> 00:28:04,480
Speaker 1: and when I was there music director. I left about

459
00:28:04,520 --> 00:28:08,879
Speaker 1: ten years ago, but I was astounded by how large

460
00:28:08,920 --> 00:28:11,920
Speaker 1: it is. And three thousand, five hundred seats is a

461
00:28:11,920 --> 00:28:15,399
Speaker 1: whole that is way too big for Cincinnati. Cincinnati is

462
00:28:15,400 --> 00:28:16,960
Speaker 1: not a very big city. It's a great city, but

463
00:28:17,040 --> 00:28:20,480
Speaker 1: it's not a very big one. So we started this

464
00:28:20,560 --> 00:28:23,720
Speaker 1: campaign in trying to do something about this whole. So

465
00:28:23,880 --> 00:28:27,480
Speaker 1: finally it has was renovated. It looks the same, but

466
00:28:27,560 --> 00:28:31,159
Speaker 1: it is a bit smaller. It's just so gorgeous. You

467
00:28:31,160 --> 00:28:33,200
Speaker 1: have to you have to say, redesigned the inside of

468
00:28:33,200 --> 00:28:35,840
Speaker 1: the space, right, the same thing they're doing it at

469
00:28:35,840 --> 00:28:38,880
Speaker 1: Lincoln Center, which you do that that the building is landmarked.

470
00:28:39,160 --> 00:28:40,640
Speaker 1: And I think I've said this before on the show.

471
00:28:40,680 --> 00:28:42,720
Speaker 1: We had Alan Gilbert on the show several years ago

472
00:28:42,800 --> 00:28:45,600
Speaker 1: as he was leaving New York, and Deborah Borda who

473
00:28:45,640 --> 00:28:48,560
Speaker 1: I must say, I've never been prouder to work on

474
00:28:48,600 --> 00:28:50,920
Speaker 1: a board than I am on the Philharmonic board, simply

475
00:28:50,960 --> 00:28:54,000
Speaker 1: because of the genius of this woman. Deppa is the

476
00:28:54,000 --> 00:28:57,520
Speaker 1: one who she knew whatever schedule they had for their renovation,

477
00:28:57,960 --> 00:29:00,160
Speaker 1: she said, we're shut down for the COVID and think

478
00:29:00,200 --> 00:29:02,680
Speaker 1: she bumped it up like a year. She said, let's

479
00:29:02,680 --> 00:29:04,920
Speaker 1: blow the place up. Now we're not in there and

480
00:29:04,920 --> 00:29:06,720
Speaker 1: we're not going back, and then let's just start. I'm

481
00:29:06,760 --> 00:29:09,880
Speaker 1: just so excited because they are going to have the

482
00:29:09,920 --> 00:29:12,640
Speaker 1: most beautiful space. They took four hundred seats out of

483
00:29:12,680 --> 00:29:14,640
Speaker 1: there as well, they took a lot of seats up.

484
00:29:14,720 --> 00:29:18,360
Speaker 1: You know, this is one of those strange phenomenon that happened.

485
00:29:18,720 --> 00:29:21,600
Speaker 1: Classical music somehow had to compete with the kind of

486
00:29:21,720 --> 00:29:25,040
Speaker 1: large show business events, and in a way, the music

487
00:29:25,160 --> 00:29:28,800
Speaker 1: is not designed for that. You know, at two thousand seats, okay, fine,

488
00:29:29,800 --> 00:29:32,480
Speaker 1: three thousand, four thousand, it's just not the right music.

489
00:29:32,520 --> 00:29:35,560
Speaker 1: It's impractical when you're in a town like Cincinnati. What

490
00:29:35,600 --> 00:29:37,680
Speaker 1: was it like like explain to people where does the

491
00:29:37,840 --> 00:29:40,160
Speaker 1: ensemble come from? Do you have to bring people there

492
00:29:40,160 --> 00:29:43,040
Speaker 1: and house them or their natives of Cincinnati? Many of

493
00:29:43,240 --> 00:29:45,280
Speaker 1: where does the where does the talent come from? I'll

494
00:29:45,320 --> 00:29:48,040
Speaker 1: tell you Cincinnati. This is one of the very funny

495
00:29:48,080 --> 00:29:51,040
Speaker 1: things about the United States is that most people in

496
00:29:51,040 --> 00:29:55,880
Speaker 1: America don't even realize how much culture is actually in

497
00:29:55,920 --> 00:29:59,280
Speaker 1: these smaller places in the Midwest. For example, you know,

498
00:29:59,720 --> 00:30:02,120
Speaker 1: se Sinnati is I think like the second or third

499
00:30:02,160 --> 00:30:04,920
Speaker 1: oldest orchestra in the United States. It was created by

500
00:30:04,920 --> 00:30:09,760
Speaker 1: the same guy who created Chicago Symphony. It was totally German.

501
00:30:10,520 --> 00:30:12,880
Speaker 1: You know, Fritz Reiner, who was a music director for

502
00:30:12,960 --> 00:30:17,240
Speaker 1: fifteen years the ISA. I first job of Stokowski was

503
00:30:17,280 --> 00:30:22,960
Speaker 1: in Cincinnati. You know, the amazing legacy of of horror Witz, Stravinsky,

504
00:30:23,800 --> 00:30:28,040
Speaker 1: all the great conductors and great composers, they all went

505
00:30:28,080 --> 00:30:30,800
Speaker 1: to Cincinnati. There are there are pictures and if you

506
00:30:30,880 --> 00:30:33,720
Speaker 1: listen to, for example, one of the most iconic American

507
00:30:33,760 --> 00:30:38,160
Speaker 1: pieces that everybody knows, the Fanfare for the common Man.

508
00:30:38,920 --> 00:30:43,160
Speaker 1: You know, that is commissioned by Cincinnati Orchestra, and many, many, many,

509
00:30:43,200 --> 00:30:48,000
Speaker 1: many other historic things. So if you start thinking about

510
00:30:48,040 --> 00:30:51,320
Speaker 1: all this rust belt, the best orchestras in America are

511
00:30:51,360 --> 00:30:54,720
Speaker 1: in Midwest. Okay, there is of course New York Philharmonic.

512
00:30:54,840 --> 00:30:58,280
Speaker 1: Clearly that is exceptional. But if you look at Cleveland,

513
00:30:58,600 --> 00:31:02,840
Speaker 1: if you look at Chicago, Cincinnati, Pittsburgh, you know this

514
00:31:02,920 --> 00:31:06,440
Speaker 1: is not exactly the glamorous part of the United States,

515
00:31:06,520 --> 00:31:09,840
Speaker 1: but this is an unbelievably cultured This is where all

516
00:31:09,880 --> 00:31:14,920
Speaker 1: the German European immigrants went, you know, all the Californias

517
00:31:14,960 --> 00:31:19,440
Speaker 1: and West Coast and also Texas. That's already an afterthought

518
00:31:19,560 --> 00:31:22,680
Speaker 1: that music came later there. But Cincinnati Symphony was an

519
00:31:22,800 --> 00:31:26,320
Speaker 1: orchestra where Stokowski was a music director. He became the

520
00:31:26,440 --> 00:31:31,160
Speaker 1: greatest Stokowsky. Philadelphia Rhiner became the great Fritz Rhiner of

521
00:31:31,240 --> 00:31:36,160
Speaker 1: Chicago Symphony. And so Cincinnati is really suffering from the

522
00:31:36,160 --> 00:31:40,000
Speaker 1: basic image that United States and Americans have about Ohio.

523
00:31:41,000 --> 00:31:43,800
Speaker 1: Oh Wio wild, Did I believe Ohio? You know that

524
00:31:44,280 --> 00:31:46,440
Speaker 1: this is exactly the whole thing. That is a kind

525
00:31:46,480 --> 00:31:51,320
Speaker 1: of a you know, stereotype prejudice to the Big Five. Well,

526
00:31:51,320 --> 00:31:54,200
Speaker 1: a Big Five truly are great, there was no question

527
00:31:54,240 --> 00:31:56,440
Speaker 1: about it. But but in today's world they have a

528
00:31:56,440 --> 00:32:00,400
Speaker 1: lot of money. Yes, but I think that more than

529
00:32:00,480 --> 00:32:02,800
Speaker 1: money even I think it has something to do with

530
00:32:03,280 --> 00:32:07,360
Speaker 1: the legacy of long term relationships that they had with conductors.

531
00:32:07,400 --> 00:32:10,880
Speaker 1: You have George Zel stayed all his life in Cleveland

532
00:32:10,920 --> 00:32:15,040
Speaker 1: and clearly made sure that this orchestra is unbeatable, and

533
00:32:15,600 --> 00:32:18,560
Speaker 1: that hall and that hall in Cleveland. Well, right now,

534
00:32:18,600 --> 00:32:21,480
Speaker 1: I would say that Severance Hall in Cleveland, great as

535
00:32:21,520 --> 00:32:24,960
Speaker 1: it is, without any question, is the Cincinnati is not

536
00:32:25,040 --> 00:32:28,800
Speaker 1: any worse. In my life of listening to and collecting

537
00:32:28,960 --> 00:32:34,440
Speaker 1: first on CDs and then downloading this relationship between the

538
00:32:34,440 --> 00:32:37,640
Speaker 1: maestro and the ensemble. And I remember a consol who

539
00:32:37,720 --> 00:32:43,480
Speaker 1: was the Cincinnati Pops conductor there forever he was there forever,

540
00:32:45,240 --> 00:32:49,360
Speaker 1: I was always devouring that, as you said, that conductor

541
00:32:49,400 --> 00:32:54,400
Speaker 1: who stayed and developed that rich relationship. Duti with Montreal,

542
00:32:54,640 --> 00:32:59,160
Speaker 1: Slatkin with St. Louis Mata with the Dallas Symphony, Tilson

543
00:32:59,240 --> 00:33:03,160
Speaker 1: Thomas and Francisco as a packer in l A. And

544
00:33:03,240 --> 00:33:05,880
Speaker 1: so for the you in Cincinnati. But getting back to

545
00:33:05,920 --> 00:33:09,680
Speaker 1: this question about the performers, are a significant number of them,

546
00:33:09,720 --> 00:33:13,160
Speaker 1: or any significant proportion of them natives of Ohio where

547
00:33:13,160 --> 00:33:15,880
Speaker 1: they have to come in for the season. No, they

548
00:33:15,960 --> 00:33:18,760
Speaker 1: all become residents of Ohio once they get the job

549
00:33:18,920 --> 00:33:21,720
Speaker 1: in in orchestra. You know, getting a job in American orchestra,

550
00:33:21,800 --> 00:33:24,200
Speaker 1: it is it's a nightmare. It is so difficult. I

551
00:33:24,200 --> 00:33:26,520
Speaker 1: mean there are people who try for ten years and

552
00:33:26,560 --> 00:33:29,040
Speaker 1: they don't get the job and almost give up, and

553
00:33:29,080 --> 00:33:31,960
Speaker 1: they say, okay, one more audition, and then then never again,

554
00:33:32,000 --> 00:33:34,080
Speaker 1: and they get a job finally. You know, it is

555
00:33:34,200 --> 00:33:37,400
Speaker 1: it's it's all behind the screens. It's extremely tough to

556
00:33:37,480 --> 00:33:39,440
Speaker 1: get a job. So of course if you are a

557
00:33:39,440 --> 00:33:41,680
Speaker 1: member of an orchestraine Cincinnati, you have to live there

558
00:33:42,080 --> 00:33:45,360
Speaker 1: because you have to work every week. But originally all

559
00:33:45,400 --> 00:33:49,560
Speaker 1: the musicians came from Germany. This was I mean the

560
00:33:50,000 --> 00:33:55,280
Speaker 1: area where the whole is located, it's called over the Rhine.

561
00:33:56,120 --> 00:33:59,560
Speaker 1: This it has it has to go back to local

562
00:33:59,680 --> 00:34:02,320
Speaker 1: and it has a beautiful architecture. And the one of

563
00:34:02,400 --> 00:34:07,680
Speaker 1: the largest October first outside of Munich is in you know, Kentucky,

564
00:34:07,720 --> 00:34:10,160
Speaker 1: which is right next door. So it's a really German

565
00:34:10,719 --> 00:34:13,760
Speaker 1: and you know, and the certain cultural sort of DNA

566
00:34:15,120 --> 00:34:18,239
Speaker 1: remains to this day. And I thought the Greater's ice

567
00:34:18,239 --> 00:34:20,400
Speaker 1: cream was the number one reason to go to Cincinnati.

568
00:34:21,080 --> 00:34:23,239
Speaker 1: I would ship I would ship Greater's ice cream to

569
00:34:23,320 --> 00:34:25,399
Speaker 1: all my friends on dry eyes. I'd send them these

570
00:34:25,440 --> 00:34:28,319
Speaker 1: cases and they'll all be crying. They said, my god,

571
00:34:28,360 --> 00:34:30,239
Speaker 1: this is the greatest ice cream I've ever heard. I

572
00:34:30,360 --> 00:34:34,000
Speaker 1: facilitated their addiction to Greater's ice Cream in Cincinnati, and

573
00:34:34,000 --> 00:34:36,879
Speaker 1: now I have to go back there concert. Yeah. Well,

574
00:34:36,880 --> 00:34:40,080
Speaker 1: the thing is that I left orchestra already more than

575
00:34:40,120 --> 00:34:43,000
Speaker 1: ten years ago. But what I like very much, and

576
00:34:43,040 --> 00:34:45,880
Speaker 1: I agree with you, is that these relationships that are

577
00:34:45,960 --> 00:34:48,640
Speaker 1: long term are really worth something. And in a music

578
00:34:48,719 --> 00:34:52,680
Speaker 1: business this is not so common anymore. People stay a

579
00:34:52,719 --> 00:34:54,719
Speaker 1: few years and they go to another, you know, in

580
00:34:54,760 --> 00:34:57,359
Speaker 1: all things, In all things, but I think to run,

581
00:34:57,440 --> 00:35:00,160
Speaker 1: who really I love the people who build some thing,

582
00:35:00,239 --> 00:35:04,800
Speaker 1: who leaves something behind it. So this is a clich question,

583
00:35:04,840 --> 00:35:07,040
Speaker 1: but I can't help myself, because you know, there's music

584
00:35:07,080 --> 00:35:10,080
Speaker 1: I listened to that I enjoy. There's music I listened

585
00:35:10,080 --> 00:35:12,120
Speaker 1: to in the classical repretent that I don't really care for.

586
00:35:12,160 --> 00:35:14,000
Speaker 1: I mean, I'm not a big fan of Mozart. I mean,

587
00:35:14,160 --> 00:35:18,640
Speaker 1: very chirpy, kind of complex as it is mathematically as

588
00:35:19,000 --> 00:35:22,160
Speaker 1: multi layered and dimensional as some of these composers are.

589
00:35:22,280 --> 00:35:26,080
Speaker 1: As we move, you know, further towards Stravinsky and so forth,

590
00:35:26,080 --> 00:35:28,440
Speaker 1: and things get a little more layered and non traditional,

591
00:35:29,360 --> 00:35:31,440
Speaker 1: there's nonetheless, music I listened to, which is I mean,

592
00:35:31,520 --> 00:35:34,960
Speaker 1: I I remember I was doing a film and I

593
00:35:34,960 --> 00:35:36,480
Speaker 1: told him I said this before on the show. But

594
00:35:36,520 --> 00:35:38,400
Speaker 1: forgive me, but I'm trying to impress you here with

595
00:35:38,440 --> 00:35:40,799
Speaker 1: my passion because in my life, if I had my

596
00:35:40,840 --> 00:35:42,480
Speaker 1: life to do over again, and I mean, is I

597
00:35:42,520 --> 00:35:45,239
Speaker 1: swear to God in Heaven, if I had my life

598
00:35:45,239 --> 00:35:46,960
Speaker 1: to do over again, I'd be you. You know you

599
00:35:47,080 --> 00:35:50,440
Speaker 1: told me that after I told you that stage in

600
00:35:51,040 --> 00:35:53,120
Speaker 1: New York last time, and you came and you said,

601
00:35:53,880 --> 00:35:56,600
Speaker 1: I want your life. Yes, I want to be you.

602
00:35:56,920 --> 00:36:00,120
Speaker 1: To blur, to play, to play the piano, to all

603
00:36:00,160 --> 00:36:02,440
Speaker 1: of them have to master some instrument apparently they all

604
00:36:02,440 --> 00:36:06,560
Speaker 1: play something, and then to become a conductor. Because I mean,

605
00:36:06,920 --> 00:36:10,200
Speaker 1: I'm racing from a show I was doing, or shooting

606
00:36:10,200 --> 00:36:13,359
Speaker 1: a film, and they contractually had to let me leave

607
00:36:13,480 --> 00:36:18,240
Speaker 1: work at five o'clock on four nights of one week.

608
00:36:18,640 --> 00:36:22,680
Speaker 1: They knew in my contract that on Monday, Tuesday, Thursday,

609
00:36:22,680 --> 00:36:26,680
Speaker 1: Friday I had to leave the show shooting a movie

610
00:36:26,920 --> 00:36:29,840
Speaker 1: in Brooklyn at five o'clock so I could go to

611
00:36:29,960 --> 00:36:32,800
Speaker 1: Carnegie Hall to see the shots Capel do the Mallor

612
00:36:32,880 --> 00:36:37,279
Speaker 1: Cycle with Baron Boym and Boulez, and I wanted to

613
00:36:37,320 --> 00:36:40,839
Speaker 1: see the maller four, five, six and nine, and I

614
00:36:40,880 --> 00:36:44,239
Speaker 1: am late. I went home to change my clothes and

615
00:36:44,280 --> 00:36:46,960
Speaker 1: I ran down. I'm going down Central Park West, and

616
00:36:47,000 --> 00:36:50,560
Speaker 1: Obama was in town and the cops had everything shut down.

617
00:36:50,920 --> 00:36:52,680
Speaker 1: And by the time I go in the back of

618
00:36:52,760 --> 00:36:55,560
Speaker 1: Carnegie Hall and get my tickets and run, and as

619
00:36:55,640 --> 00:36:59,319
Speaker 1: literally as my my ass hits the seat, I'm the

620
00:36:59,400 --> 00:37:02,000
Speaker 1: last per since sitting in the hall. And as I

621
00:37:02,040 --> 00:37:04,280
Speaker 1: sit down and I touched the cushion, the door opens

622
00:37:04,280 --> 00:37:08,800
Speaker 1: and outcomes Barren to conduct the ninth. Now the music plays,

623
00:37:09,120 --> 00:37:11,200
Speaker 1: and everybody's there to get what they want, I mean,

624
00:37:11,239 --> 00:37:14,240
Speaker 1: if they're dying for this malor cycle. And the tears

625
00:37:14,280 --> 00:37:17,120
Speaker 1: are just streaming down my face, and the tears are

626
00:37:17,160 --> 00:37:19,799
Speaker 1: streaming down the face of everybody to the left and

627
00:37:19,800 --> 00:37:23,000
Speaker 1: to the right of me. And this music touches you

628
00:37:23,080 --> 00:37:25,600
Speaker 1: in a way that nothing else can exactly And the

629
00:37:25,640 --> 00:37:27,520
Speaker 1: woman says that. The woman says that in the documentary,

630
00:37:27,600 --> 00:37:29,800
Speaker 1: she says, this is a music that that that goes

631
00:37:29,840 --> 00:37:32,560
Speaker 1: so deep. And I'm wondering, what are the pieces that

632
00:37:32,600 --> 00:37:35,720
Speaker 1: you play that touch you? No, no, you can't pick favorites,

633
00:37:35,800 --> 00:37:37,880
Speaker 1: But what's a piece or two that you play that

634
00:37:38,000 --> 00:37:40,359
Speaker 1: even you're a surprise at how much it moves you.

635
00:37:40,960 --> 00:37:45,600
Speaker 1: I would think that without any exception, it is something

636
00:37:46,440 --> 00:37:51,560
Speaker 1: slow in Adago by Bruckner, Adago by Maler, something that

637
00:37:51,920 --> 00:37:55,480
Speaker 1: is introverted. Like if you listen to the fourth or

638
00:37:55,560 --> 00:37:58,759
Speaker 1: the seventh Symphony of Sibelius, you have this feeling that

639
00:37:58,840 --> 00:38:02,719
Speaker 1: you have this this some something is just creeping deep

640
00:38:02,719 --> 00:38:07,080
Speaker 1: inside you. It is not. It's not artificial, superficial, easy

641
00:38:07,160 --> 00:38:10,760
Speaker 1: listening or Americans say, toe tappers, I don't this doesn't

642
00:38:10,760 --> 00:38:14,680
Speaker 1: do anything. Really, what does something to me is slow,

643
00:38:15,400 --> 00:38:17,640
Speaker 1: you know, like the end of the Mather three, you know,

644
00:38:17,680 --> 00:38:20,280
Speaker 1: the last movement. It is just out of this world.

645
00:38:20,400 --> 00:38:25,319
Speaker 1: And and yeah, I think slow music that really just

646
00:38:25,680 --> 00:38:29,359
Speaker 1: gets inside yourself, which broke to the seventh. I love

647
00:38:29,400 --> 00:38:31,759
Speaker 1: the seventh, but listened to the dodger of the of

648
00:38:31,920 --> 00:38:36,120
Speaker 1: the of the eight, Bruckner eight a dodgo of the

649
00:38:36,120 --> 00:38:41,000
Speaker 1: Bruckner six, unbelievable, Bruckner nine a dodger. But you know,

650
00:38:41,200 --> 00:38:44,359
Speaker 1: Beethoven was the person in this ninth Symphony who kind

651
00:38:44,400 --> 00:38:48,319
Speaker 1: of created the prototype for this great adulgo. You know,

652
00:38:48,400 --> 00:38:51,480
Speaker 1: the ninth that the slow movement, and every composer since

653
00:38:52,080 --> 00:38:54,800
Speaker 1: tried to kind of outdo him, because it was the

654
00:38:55,480 --> 00:38:59,120
Speaker 1: true master knew. It was really somebody who knew how

655
00:38:59,160 --> 00:39:02,200
Speaker 1: to write a a great a dodger. And that is why,

656
00:39:02,360 --> 00:39:07,759
Speaker 1: for example, Mother often ends his symphony in the ninth definitely,

657
00:39:07,800 --> 00:39:12,320
Speaker 1: but also the third with this incredibly soul searching a dodger.

658
00:39:12,760 --> 00:39:17,080
Speaker 1: And and to me, slow music. Maybe I'm just getting old,

659
00:39:17,120 --> 00:39:21,880
Speaker 1: but I always, I always loved slow and contemplative music.

660
00:39:22,280 --> 00:39:24,760
Speaker 1: I wanted to tell you something funny because you mentioned

661
00:39:24,800 --> 00:39:27,520
Speaker 1: bottom Boy. I'm sitting here in the curranteen in Tokyo

662
00:39:27,600 --> 00:39:32,600
Speaker 1: in the hotel. He's upstairs. He's upstairs, and he wanted

663
00:39:32,640 --> 00:39:35,000
Speaker 1: to come and see me. They wouldn't let the people

664
00:39:35,040 --> 00:39:38,080
Speaker 1: are so uptight here in Tokyo that they wouldn't let

665
00:39:38,200 --> 00:39:41,040
Speaker 1: him into my room. And it is so funny because

666
00:39:41,160 --> 00:39:45,040
Speaker 1: we are literally in the not in the same wing too.

667
00:39:45,719 --> 00:39:47,600
Speaker 1: So it's hard to believe that the six ft of

668
00:39:47,600 --> 00:39:50,400
Speaker 1: concrete and steel are separating two of the greatest maestros

669
00:39:50,440 --> 00:39:53,000
Speaker 1: in modern music today in the in the classic root.

670
00:39:53,400 --> 00:39:55,399
Speaker 1: And you can't have a cup of tea together, well

671
00:39:55,480 --> 00:39:57,680
Speaker 1: I am. I am a kind of a martini together.

672
00:39:57,920 --> 00:40:02,040
Speaker 1: I had a bottle already, you prepared with a glass

673
00:40:02,040 --> 00:40:05,560
Speaker 1: of two. Even I got two glasses. They wouldn't let him.

674
00:40:06,040 --> 00:40:08,480
Speaker 1: You'll have to toast over the internet. It's uneah. So

675
00:40:08,520 --> 00:40:11,200
Speaker 1: we did. We were literally doing what we're doing now.

676
00:40:11,640 --> 00:40:14,080
Speaker 1: And this is the story. You were married, you're not

677
00:40:14,120 --> 00:40:17,719
Speaker 1: married now and you have two daughters. If your ex

678
00:40:17,800 --> 00:40:21,480
Speaker 1: wife she was a violinist, a very good one, and

679
00:40:21,520 --> 00:40:24,320
Speaker 1: you met her where I met her actually in London

680
00:40:24,400 --> 00:40:26,680
Speaker 1: when I was well. I still live in London and

681
00:40:26,840 --> 00:40:30,680
Speaker 1: between London and US, but she was studying in the

682
00:40:31,040 --> 00:40:34,880
Speaker 1: Royal Academy and we met in London. Now I always

683
00:40:34,880 --> 00:40:38,319
Speaker 1: tell people, and forgive me if this sounds odd, but

684
00:40:38,400 --> 00:40:42,280
Speaker 1: that is I often find the talent is the greatest

685
00:40:42,280 --> 00:40:45,360
Speaker 1: staff for Daisac. And if talent is the greatest staff

686
00:40:45,360 --> 00:40:47,840
Speaker 1: for Daisac. And I was a conductor working in the

687
00:40:47,880 --> 00:40:50,480
Speaker 1: classical repertoire, i'd want to get married probably two or

688
00:40:50,520 --> 00:40:54,879
Speaker 1: three times a month. Talented women who are playing these

689
00:40:54,880 --> 00:40:58,920
Speaker 1: instruments are just there, They're everywhere. This is one of

690
00:40:58,920 --> 00:41:02,160
Speaker 1: those almost dangerous subjects in this diamond age. But the

691
00:41:02,200 --> 00:41:05,560
Speaker 1: truth is exactly what you're saying. What you're saying is

692
00:41:05,680 --> 00:41:10,600
Speaker 1: so right because you first of all speak the same language.

693
00:41:10,640 --> 00:41:14,120
Speaker 1: You speak music. It's the your passion. Both of you

694
00:41:14,200 --> 00:41:19,800
Speaker 1: understand it is so it is so obvious that most

695
00:41:19,880 --> 00:41:23,240
Speaker 1: people in that field find their partner in the same field.

696
00:41:23,239 --> 00:41:26,760
Speaker 1: And it is very difficult to even understand the idiosyncrasies

697
00:41:26,800 --> 00:41:30,839
Speaker 1: and all the craziness that one needs to understand if

698
00:41:30,880 --> 00:41:33,719
Speaker 1: you are not in part of the business. So this

699
00:41:33,800 --> 00:41:37,279
Speaker 1: whole thing about you know, be careful workplace romances and

700
00:41:37,320 --> 00:41:40,080
Speaker 1: all this. Yeah, on one level, I understand totally, But

701
00:41:40,160 --> 00:41:44,320
Speaker 1: on the other hand, there is almost impossible to create

702
00:41:44,320 --> 00:41:47,200
Speaker 1: a union that is really long lasting. And more and more,

703
00:41:47,239 --> 00:41:48,840
Speaker 1: I think what you're saying, if I'm here you correctly,

704
00:41:49,040 --> 00:41:51,680
Speaker 1: which is what I've suspected, which is more beyond the

705
00:41:51,760 --> 00:41:54,600
Speaker 1: chemistry between a man and a woman, or two women

706
00:41:54,680 --> 00:41:57,080
Speaker 1: or two men for that matter. Beyond that chemistry, it's

707
00:41:57,080 --> 00:42:01,000
Speaker 1: the chemistry of the arts, exactly. The just nothing like

708
00:42:01,760 --> 00:42:06,560
Speaker 1: watching all those tens of thousands of hours that these

709
00:42:06,600 --> 00:42:09,400
Speaker 1: people have, hundreds of thousands of hours, and they're up

710
00:42:09,400 --> 00:42:11,839
Speaker 1: there and they're doing their thing, and you sit there

711
00:42:11,840 --> 00:42:14,880
Speaker 1: and you watch them all doing the same thing together

712
00:42:14,960 --> 00:42:17,080
Speaker 1: in service of the same thing. At the same time,

713
00:42:17,440 --> 00:42:19,680
Speaker 1: I think to myself, this is the most intoxic anything

714
00:42:19,680 --> 00:42:22,480
Speaker 1: in the world. Now you're there in Tokyo. Just are

715
00:42:22,480 --> 00:42:24,160
Speaker 1: you doing something with n h K or who are

716
00:42:24,160 --> 00:42:26,240
Speaker 1: you working with n h K. I'm a chief conductor

717
00:42:26,280 --> 00:42:29,160
Speaker 1: in n h K. I'm a chief conductor in Don

718
00:42:29,239 --> 00:42:33,920
Speaker 1: Hello Orchestra Zurich, Deutsche Kami Filimony in Bremen. So so

719
00:42:34,120 --> 00:42:38,719
Speaker 1: there is their geography is quite wild and and I

720
00:42:38,840 --> 00:42:41,360
Speaker 1: have not been here because of the COVID now for

721
00:42:41,520 --> 00:42:46,040
Speaker 1: thirteen months. So now I have decided as a chief conductor,

722
00:42:46,160 --> 00:42:49,880
Speaker 1: I have to come here and sit through this current

723
00:42:49,920 --> 00:42:52,640
Speaker 1: team because it's my orchestra, and I feel the loyalty

724
00:42:52,680 --> 00:42:55,560
Speaker 1: and I feel the responsibility. Well, let me just say

725
00:42:55,600 --> 00:42:58,239
Speaker 1: this to you. You are one of the most elegant

726
00:42:58,239 --> 00:43:01,160
Speaker 1: men I've ever seen on podium in my laughter. And

727
00:43:01,200 --> 00:43:04,040
Speaker 1: you are a great, great, great music inductor. But I

728
00:43:04,080 --> 00:43:06,279
Speaker 1: hope we see you in New York before too long.

729
00:43:06,440 --> 00:43:08,520
Speaker 1: We're dying for you to come back. Please, thank you,

730
00:43:08,760 --> 00:43:16,040
Speaker 1: Thank you very much. Conductor Pavo yar V. This is

731
00:43:16,080 --> 00:43:20,480
Speaker 1: Pavlo yar V conducting the Estonian National Symphony in the

732
00:43:20,560 --> 00:43:24,280
Speaker 1: Contus in memory of Benjamin Brittain, written by the world

733
00:43:24,280 --> 00:43:29,799
Speaker 1: renowned Estonian composer Arvo part I'm Alec Baldwin, here's the thing.

734
00:43:30,000 --> 00:44:06,160
Speaker 1: Is brought to you by my Heart Radio