[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:02.00,Default,,0000,0000,0000,,For years Carter hesitated to\Ncompose a work, a concerto,
Dialogue: 0,0:00:02.00,0:00:05.00,Default,,0000,0000,0000,,for flute because he believed the flute
Dialogue: 0,0:00:05.00,0:00:12.00,Default,,0000,0000,0000,,could not 'bring out the sharp attacks'\Nhe favoured in his compositions.
Dialogue: 0,0:00:12.00,0:00:17.00,Default,,0000,0000,0000,,Now, he's written a flute concerto after all.
Dialogue: 0,0:00:17.00,0:00:20.00,Default,,0000,0000,0000,,Emmanuel Pahud gave the\Nwork its world premiere
Dialogue: 0,0:00:20.00,0:00:22.00,Default,,0000,0000,0000,,performance in September 2008
Dialogue: 0,0:00:22.00,0:00:25.00,Default,,0000,0000,0000,,at the Jerusalem Chamber Music Festival.
Dialogue: 0,0:00:25.00,0:00:29.00,Default,,0000,0000,0000,,Emmanuel Pahud, what kind\Nof a work did Carter
Dialogue: 0,0:00:29.00,0:00:30.07,Default,,0000,0000,0000,,compose for you?
Dialogue: 0,0:00:30.07,0:00:40.00,Default,,0000,0000,0000,,Actually, when one is confronted\Nwith a composition that in 13 minutes
Dialogue: 0,0:00:40.00,0:00:44.00,Default,,0000,0000,0000,,summarizes 100 years
Dialogue: 0,0:00:44.00,0:00:47.00,Default,,0000,0000,0000,,plus perspectives looking\Nback as well as forwards,
Dialogue: 0,0:00:47.00,0:00:50.00,Default,,0000,0000,0000,,from the point of view of Elliott Carter.
Dialogue: 0,0:00:50.00,0:00:55.00,Default,,0000,0000,0000,,It is a daunting task one is faced with
Dialogue: 0,0:00:55.00,0:01:00.00,Default,,0000,0000,0000,,and looking at such music scores\Nopens incredible worlds.
Dialogue: 0,0:01:00.00,0:01:10.00,Default,,0000,0000,0000,,It's unbelievable how much one can define\Nas a performer while sitting at a desk
Dialogue: 0,0:01:10.00,0:01:12.00,Default,,0000,0000,0000,,not just by trying out the piece
Dialogue: 0,0:01:12.00,0:01:14.00,Default,,0000,0000,0000,,on one's instrument and\Nreading the score
Dialogue: 0,0:01:14.00,0:01:18.00,Default,,0000,0000,0000,,but far more in the\Ndialogue, the connection,
Dialogue: 0,0:01:18.00,0:01:21.00,Default,,0000,0000,0000,,between the solo instrument\Nand the orchestra
Dialogue: 0,0:01:21.00,0:01:24.00,Default,,0000,0000,0000,,what worlds get opened up there.
Dialogue: 0,0:01:24.00,0:01:29.03,Default,,0000,0000,0000,,And in this concerto, you recognize\Nright at the start
Dialogue: 0,0:01:29.03,0:01:32.08,Default,,0000,0000,0000,,that the flute suddenly fills the room
Dialogue: 0,0:01:32.08,0:01:40.00,Default,,0000,0000,0000,,with an entire cloud of\Nsounds, like sequins in the air.
Dialogue: 0,0:01:40.00,0:01:42.10,Default,,0000,0000,0000,,These sounds are then\Nrepeated by the orchestra
Dialogue: 0,0:01:43.00,0:01:46.00,Default,,0000,0000,0000,,and alternately by different\Ngroups of instruments
Dialogue: 0,0:01:46.00,0:01:49.00,Default,,0000,0000,0000,,that react to each other and I too am
Dialogue: 0,0:01:49.00,0:01:52.00,Default,,0000,0000,0000,,involved at this point and\Noccasionally play sounds
Dialogue: 0,0:01:52.00,0:01:58.00,Default,,0000,0000,0000,,that, in contrast to the sounds\Nbeing played by other instruments
Dialogue: 0,0:01:58.00,0:02:00.03,Default,,0000,0000,0000,,are picked up and\Nemphasized by the orchestra.
Dialogue: 0,0:02:00.04,0:02:03.00,Default,,0000,0000,0000,,That is, the notes played\Nby the solo instrument,
Dialogue: 0,0:02:03.00,0:02:05.05,Default,,0000,0000,0000,,the flute, are then\Nsustained by the orchestra
Dialogue: 0,0:02:05.05,0:02:10.00,Default,,0000,0000,0000,,as a kind of sound relief\Nand from these sounds a harmony builds
Dialogue: 0,0:02:10.00,0:02:13.00,Default,,0000,0000,0000,,and over and above this harmony,\Na solo flute voice develops
Dialogue: 0,0:02:13.00,0:02:17.02,Default,,0000,0000,0000,,which leads to a wonderful Cantilena\Nin the second part of the piece.
Dialogue: 0,0:02:17.06,0:02:23.00,Default,,0000,0000,0000,,The piece is called a concerto\Nfor flute and orchestra,
Dialogue: 0,0:02:24.00,0:02:27.00,Default,,0000,0000,0000,,but I would prefer to\Ndescribe it as a nocturne
Dialogue: 0,0:02:27.00,0:02:29.00,Default,,0000,0000,0000,,although it has the form of a concerto.
Dialogue: 0,0:02:29.00,0:02:32.00,Default,,0000,0000,0000,,It's one long piece of music\Nthat's clearly divided
Dialogue: 0,0:02:32.00,0:02:35.00,Default,,0000,0000,0000,,structurally into four\Ndifferent movements.
Dialogue: 0,0:02:35.00,0:02:39.00,Default,,0000,0000,0000,,Just as with a symphony,\Nwith the first part
Dialogue: 0,0:02:39.00,0:02:41.00,Default,,0000,0000,0000,,and then a middle, slower part,
Dialogue: 0,0:02:41.00,0:02:44.00,Default,,0000,0000,0000,,that you could say is more of a song
Dialogue: 0,0:02:44.00,0:02:47.00,Default,,0000,0000,0000,,then a third part where\Nthe cadence is free
Dialogue: 0,0:02:47.00,0:02:50.00,Default,,0000,0000,0000,,and the flute starts out alone
Dialogue: 0,0:02:50.00,0:02:54.00,Default,,0000,0000,0000,,and it is joined by other instruments,\Nmainly the drum group
Dialogue: 0,0:02:54.00,0:03:00.08,Default,,0000,0000,0000,,and then in the end a finale marked\Nby a great deal of virtuosity
Dialogue: 0,0:03:00.08,0:03:02.05,Default,,0000,0000,0000,,not only from the flute
Dialogue: 0,0:03:02.05,0:03:05.06,Default,,0000,0000,0000,,but also from the violins\Nand the other instruments of the orchestra.
Dialogue: 0,0:03:06.00,0:03:08.00,Default,,0000,0000,0000,,What Elliott Carter borrowed\Nfrom Stravinsky
Dialogue: 0,0:03:09.00,0:03:14.00,Default,,0000,0000,0000,,was his decades-long intensive\Npreoccupation with rhythm.
Dialogue: 0,0:03:15.00,0:03:17.00,Default,,0000,0000,0000,,He not only wrote essays\Non the subject but
Dialogue: 0,0:03:17.00,0:03:20.00,Default,,0000,0000,0000,,most of his work reflects\Nthis focus on rhythm.
Dialogue: 0,0:03:20.00,0:03:23.03,Default,,0000,0000,0000,,What is it like in the Flute Concerto?
Dialogue: 0,0:03:23.09,0:03:26.04,Default,,0000,0000,0000,,It isn't nearly so difficult from\Nthe point of view of rhythm
Dialogue: 0,0:03:26.04,0:03:27.09,Default,,0000,0000,0000,,as in his earlier works
Dialogue: 0,0:03:28.00,0:03:34.00,Default,,0000,0000,0000,,works from the 1970s and 80s when\Nhe's already well over 70 years of age.
Dialogue: 0,0:03:36.00,0:03:38.00,Default,,0000,0000,0000,,The works are marked\Nby an enormous level of complexity
Dialogue: 0,0:03:38.00,0:03:42.00,Default,,0000,0000,0000,,but with age he seems to have\Nacquired a certain wisdom
Dialogue: 0,0:03:43.00,0:03:49.06,Default,,0000,0000,0000,,inasmuch as he played with\Ncomplex rhythms a lot
Dialogue: 0,0:03:50.00,0:03:54.00,Default,,0000,0000,0000,,where, for example a duet\Nfor flute and clarinet,
Dialogue: 0,0:03:54.00,0:03:57.00,Default,,0000,0000,0000,,called 'Esprit Rude, Esprit Doux'
Dialogue: 0,0:03:58.00,0:04:03.00,Default,,0000,0000,0000,,meaning 'Rough Spirit, Kind Spirit'
Dialogue: 0,0:04:04.00,0:04:09.00,Default,,0000,0000,0000,,this piece was composed for\NPierre Boulez sixtieth birthday.
Dialogue: 0,0:04:10.00,0:04:12.08,Default,,0000,0000,0000,,In this piece there are\Njust the two instruments
Dialogue: 0,0:04:13.00,0:04:14.08,Default,,0000,0000,0000,,but they may never play together.
Dialogue: 0,0:04:15.00,0:04:16.06,Default,,0000,0000,0000,,The piece is very very fast,
Dialogue: 0,0:04:16.06,0:04:20.00,Default,,0000,0000,0000,,but when the clarinet plays\Nfive notes in a row
Dialogue: 0,0:04:20.00,0:04:21.07,Default,,0000,0000,0000,,then the flute only plays four... or six and
Dialogue: 0,0:04:22.00,0:04:23.06,Default,,0000,0000,0000,,the other way around as\Nwell, the entire time
Dialogue: 0,0:04:24.00,0:04:28.00,Default,,0000,0000,0000,,and during a performance\Nif you hear two sounds
Dialogue: 0,0:04:28.00,0:04:32.00,Default,,0000,0000,0000,,played together then the\Nperformance has failed.
Dialogue: 0,0:04:32.09,0:04:36.03,Default,,0000,0000,0000,,It's entirely different than playing Mozart
Dialogue: 0,0:04:36.03,0:04:38.01,Default,,0000,0000,0000,,or Beethoven, where\Nyou hear immediately
Dialogue: 0,0:04:38.01,0:04:39.08,Default,,0000,0000,0000,,that a mistake has been\Nmade when it's not together.
Dialogue: 0,0:04:39.08,0:04:44.06,Default,,0000,0000,0000,,In this case it's just the opposite,\Nwhich offers an interesting perspective
Dialogue: 0,0:04:45.01,0:04:48.00,Default,,0000,0000,0000,,but it leads to the oddity that\Nwhen a sound finally comes together
Dialogue: 0,0:04:49.00,0:04:53.00,Default,,0000,0000,0000,,the audience or the\Nmusicians playing think
Dialogue: 0,0:04:53.00,0:04:56.00,Default,,0000,0000,0000,,'finally' it's alright after all
Dialogue: 0,0:04:57.00,0:04:59.00,Default,,0000,0000,0000,,but no, it's actually wrong.
Dialogue: 0,0:05:00.00,0:05:08.00,Default,,0000,0000,0000,,None of that in the Flute Concerto\Nnor in the Piano Concerto, the Dialogues.
Dialogue: 0,0:05:11.00,0:05:15.00,Default,,0000,0000,0000,,It's well defined who has the lead role,\Nthe piano or the flute,
Dialogue: 0,0:05:15.00,0:05:19.00,Default,,0000,0000,0000,,and the orchestra is in constant dialogue,
Dialogue: 0,0:05:19.00,0:05:24.02,Default,,0000,0000,0000,,that is, we react to one\Nanother using the same material.
Dialogue: 0,0:05:25.00,0:05:29.02,Default,,0000,0000,0000,,The rhythmic complexity is there during\Nthe entire development of the piece.
Dialogue: 0,0:05:29.08,0:05:33.00,Default,,0000,0000,0000,,It appears in many different forms.
Dialogue: 0,0:05:33.00,0:05:36.04,Default,,0000,0000,0000,,But Elliott Carter, unlike many other\Ncomposers of the younger generation,
Dialogue: 0,0:05:37.00,0:05:40.00,Default,,0000,0000,0000,,completely rejects special effects.
Dialogue: 0,0:05:40.00,0:05:45.00,Default,,0000,0000,0000,,Because you can get a very\Nsweet tone from the flute
Dialogue: 0,0:05:45.00,0:05:47.03,Default,,0000,0000,0000,,but also very ugly sounds.
Dialogue: 0,0:05:48.00,0:05:55.00,Default,,0000,0000,0000,,Or very windy or a very pizzicato-like sound\Nusing the tongue to make a popping sound.
Dialogue: 0,0:05:56.00,0:05:59.00,Default,,0000,0000,0000,,Or a clapping type of sound,\Na percussive effect.
Dialogue: 0,0:05:59.00,0:06:02.03,Default,,0000,0000,0000,,You have a lot of possibilities for effects
Dialogue: 0,0:06:02.03,0:06:06.04,Default,,0000,0000,0000,,that you can breathe or\Nblow into the instrument
Dialogue: 0,0:06:07.00,0:06:11.02,Default,,0000,0000,0000,,that create other kinds noises,\Nnot to mention sounds.
Dialogue: 0,0:06:11.02,0:06:15.02,Default,,0000,0000,0000,,But there's none of that with Elliott Carter.
Dialogue: 0,0:06:15.04,0:06:20.00,Default,,0000,0000,0000,,He uses the flute... after\Nthe opening of the concerto
Dialogue: 0,0:06:20.00,0:06:23.00,Default,,0000,0000,0000,,which is quite scattered almost chaotic
Dialogue: 0,0:06:24.00,0:06:28.00,Default,,0000,0000,0000,,and this chaos slowly\Norganizes itself into a kind of
Dialogue: 0,0:06:28.00,0:06:31.00,Default,,0000,0000,0000,,musical language for all\Nthe performers on the stage.
Dialogue: 0,0:06:32.00,0:06:39.00,Default,,0000,0000,0000,,And afterward there comes an almost\Nneo-impressionistic musical language,
Dialogue: 0,0:06:39.00,0:06:42.05,Default,,0000,0000,0000,,which is very suited to the flute,
Dialogue: 0,0:06:42.05,0:06:45.06,Default,,0000,0000,0000,,especially since Debussy's\Norchestral works
Dialogue: 0,0:06:45.06,0:06:47.42,Default,,0000,0000,0000,,or Ravel's orchestral works\Nwhich have helped audiences
Dialogue: 0,0:06:47.62,0:06:49.94,Default,,0000,0000,0000,,recognize the flute as\Nthat type of instrument.
Dialogue: 0,0:06:50.04,0:06:51.89,Default,,0000,0000,0000,,After the intermission, we will hear the
Dialogue: 0,0:06:52.00,0:06:54.00,Default,,0000,0000,0000,,Concerto for Piano and\NEnsemble, 'Dialogues'.
Dialogue: 0,0:06:54.00,0:06:57.00,Default,,0000,0000,0000,,It was premiered in\NLondon in January 2004
Dialogue: 0,0:06:57.00,0:07:01.00,Default,,0000,0000,0000,,and this evening's soloist also\Nperformed that world premiere.
Dialogue: 0,0:07:02.00,0:07:04.00,Default,,0000,0000,0000,,You will be performing with the\Norchestra, playing the flute,
Dialogue: 0,0:07:04.00,0:07:06.00,Default,,0000,0000,0000,,and you are familiar with the work.
Dialogue: 0,0:07:06.00,0:07:09.00,Default,,0000,0000,0000,,The works are very similar in\Nlength and have a similar
Dialogue: 0,0:07:09.00,0:07:11.00,Default,,0000,0000,0000,,ensemble of instruments,\Nperhaps a little smaller.
Dialogue: 0,0:07:12.00,0:07:15.03,Default,,0000,0000,0000,,What other similarities do\Nyou see in these two pieces?
Dialogue: 0,0:07:16.00,0:07:20.00,Default,,0000,0000,0000,,These pieces are.....\Nimmediately recognizable
Dialogue: 0,0:07:20.00,0:07:23.00,Default,,0000,0000,0000,,as works by the same composer...A.
Dialogue: 0,0:07:24.00,0:07:27.00,Default,,0000,0000,0000,,and B. - they are in the same musical style.
Dialogue: 0,0:07:28.00,0:07:31.10,Default,,0000,0000,0000,,Elliott Carter doesn't use any exotic
Dialogue: 0,0:07:31.10,0:07:35.06,Default,,0000,0000,0000,,instruments such as\Ndrums, harp or keyboards
Dialogue: 0,0:07:35.06,0:07:39.00,Default,,0000,0000,0000,,in the piano piece... because\Nhe already has a wonderful
Dialogue: 0,0:07:39.00,0:07:42.08,Default,,0000,0000,0000,,percussion instrument, the piano itself.
Dialogue: 0,0:07:42.09,0:07:48.00,Default,,0000,0000,0000,,After all, it is hammers that\Nmake the sound on the strings,
Dialogue: 0,0:07:49.00,0:07:51.06,Default,,0000,0000,0000,,and depending how softly\Nor strongly the notes
Dialogue: 0,0:07:51.06,0:07:54.00,Default,,0000,0000,0000,,are struck an unbelievable\Npalette of sounds unfolds.
Dialogue: 0,0:07:54.00,0:08:01.00,Default,,0000,0000,0000,,Sometimes it sounds like Chopin\Nand sometimes it sounds like Bernstein.
Dialogue: 0,0:08:01.00,0:08:06.00,Default,,0000,0000,0000,,There's a Cantilena, but it\Nisn't heard so much in the
Dialogue: 0,0:08:06.00,0:08:12.00,Default,,0000,0000,0000,,solo Flute voice but rather\Nfrom the English Horn
Dialogue: 0,0:08:12.00,0:08:14.06,Default,,0000,0000,0000,,performed beautifully by Albrecht Mayer.
Dialogue: 0,0:08:14.06,0:08:19.00,Default,,0000,0000,0000,,And this Dialogue takes place\Nbetween
Dialogue: 0,0:08:19.00,0:08:22.09,Default,,0000,0000,0000,,a solo instrument and the orchestra
Dialogue: 0,0:08:23.00,0:08:26.00,Default,,0000,0000,0000,,but naturally with other ingredients.
Dialogue: 0,0:08:26.00,0:08:30.00,Default,,0000,0000,0000,,Since a piano is not dealt\Nwith as a solo instrument
Dialogue: 0,0:08:30.00,0:08:33.04,Default,,0000,0000,0000,,in the same manner as a flute.
Dialogue: 0,0:08:33.04,0:08:38.00,Default,,0000,0000,0000,,As a result the entire cosmos,\Nthe entire constellation is there
Dialogue: 0,0:08:38.00,0:08:41.06,Default,,0000,0000,0000,,but is seen from an entirely\Nother point of view.
Dialogue: 0,0:08:42.00,0:08:50.04,Default,,0000,0000,0000,,It is as if you were to see the sky\Nin Berlin at midnight and then
Dialogue: 0,0:08:50.09,0:08:55.00,Default,,0000,0000,0000,,a few hours later from Sydney.
Dialogue: 0,0:08:55.00,0:09:00.04,Default,,0000,0000,0000,,You would see different constellations\Nthat belong to the same cosmos,
Dialogue: 0,0:09:01.00,0:09:03.07,Default,,0000,0000,0000,,but you would be looking at them\Nfrom another perspective.
Dialogue: 0,0:09:03.07,0:09:07.08,Default,,0000,0000,0000,,In 1990 Elliott Carter composed a\NTrio with the beautiful name
Dialogue: 0,0:09:08.00,0:09:10.00,Default,,0000,0000,0000,,'Con Leggerezza Pensosa',\Ncontemplative lightness.
Dialogue: 0,0:09:10.00,0:09:14.00,Default,,0000,0000,0000,,Many of the works from\Nthe last two decades
Dialogue: 0,0:09:14.00,0:09:19.00,Default,,0000,0000,0000,,of Carter's oeuvre merit\Nsimilar-sounding names.
Dialogue: 0,0:09:19.00,0:09:23.00,Default,,0000,0000,0000,,What about the two works that\Nwe'll be hearing this evening?
Dialogue: 0,0:09:24.00,0:09:29.00,Default,,0000,0000,0000,,Lightness and thoughtfulness...\Nbut both together and linked
Dialogue: 0,0:09:29.00,0:09:36.00,Default,,0000,0000,0000,,is an absolute key to\Nunderstanding these works
Dialogue: 0,0:09:36.00,0:09:41.00,Default,,0000,0000,0000,,as well as to performing these works.
Dialogue: 0,0:09:41.00,0:09:46.00,Default,,0000,0000,0000,,There is a composer's note in the score
Dialogue: 0,0:09:46.00,0:09:49.00,Default,,0000,0000,0000,,'giocoso' meaning 'playful'.
Dialogue: 0,0:09:49.00,0:09:53.00,Default,,0000,0000,0000,,and there is another 'legerissimo' note\Ntoward the end of the Flute Concerto.
Dialogue: 0,0:09:53.00,0:09:57.00,Default,,0000,0000,0000,,These notes recur quite often in the works.
Dialogue: 0,0:09:57.00,0:10:03.00,Default,,0000,0000,0000,,as if to indicate a baroque\Ntreatment, a light and
Dialogue: 0,0:10:03.00,0:10:05.05,Default,,0000,0000,0000,,decorative way of playing the piece.
Dialogue: 0,0:10:05.08,0:10:13.00,Default,,0000,0000,0000,,It's an indicator of the playful way\Nthe composer sees his work.
Dialogue: 0,0:10:13.00,0:10:18.00,Default,,0000,0000,0000,,Not taken too seriously,\Nand not to be made too important.
Dialogue: 0,0:10:18.00,0:10:23.00,Default,,0000,0000,0000,,It is naturally a sign of great maturity.
Dialogue: 0,0:10:23.00,0:10:29.00,Default,,0000,0000,0000,,and I will try, even with my\N'relatively' advanced years
Dialogue: 0,0:10:29.00,0:10:33.00,Default,,0000,0000,0000,,to adhere to the composer's notes.
Dialogue: 0,0:10:33.00,0:10:36.06,Default,,0000,0000,0000,,You played the world\Npremiere of these pieces
Dialogue: 0,0:10:36.06,0:10:39.06,Default,,0000,0000,0000,,and now you're doing\Ntheir European premiere.
Dialogue: 0,0:10:39.06,0:10:44.06,Default,,0000,0000,0000,,You premiered the Flute Concerto\Nof Marc-AndrĂŠ Dalbavie in 2006.
Dialogue: 0,0:10:44.07,0:10:48.00,Default,,0000,0000,0000,,Just two examples of your commitment\Nto contemporary classical music.
Dialogue: 0,0:10:48.00,0:10:51.00,Default,,0000,0000,0000,,What is it that draws you\Nso much to this music?
Dialogue: 0,0:10:51.00,0:10:55.04,Default,,0000,0000,0000,,The music of Johann\NSebastian Bach, of his sons,
Dialogue: 0,0:10:55.04,0:10:58.02,Default,,0000,0000,0000,,from Mozart, Schubert and Beethoven
Dialogue: 0,0:10:58.02,0:11:01.07,Default,,0000,0000,0000,,was at one time very\Nnew and revolutionary.
Dialogue: 0,0:11:01.07,0:11:04.00,Default,,0000,0000,0000,,They were interested in new instruments.
Dialogue: 0,0:11:04.00,0:11:07.08,Default,,0000,0000,0000,,And it has always been the same.
Dialogue: 0,0:11:08.00,0:11:10.08,Default,,0000,0000,0000,,And it continues to be that way today.
Dialogue: 0,0:11:11.00,0:11:15.00,Default,,0000,0000,0000,,The difference is that the composers also
Dialogue: 0,0:11:16.00,0:11:21.00,Default,,0000,0000,0000,,performed their works on\Nthe piano or violin, or viola
Dialogue: 0,0:11:22.00,0:11:26.00,Default,,0000,0000,0000,,or improvising during\Na concert performance
Dialogue: 0,0:11:26.00,0:11:29.00,Default,,0000,0000,0000,,and then wrote out\Ntheir compositions.
Dialogue: 0,0:11:30.00,0:11:35.00,Default,,0000,0000,0000,,The ease with which a Mozart, for example,\Nin just one night in Prague
Dialogue: 0,0:11:35.00,0:11:40.00,Default,,0000,0000,0000,,composed his 'Don Giovanni' Overture\Njust shortly before the dress rehearsal
Dialogue: 0,0:11:41.00,0:11:45.00,Default,,0000,0000,0000,,is something that is reflected in the
Dialogue: 0,0:11:45.00,0:11:50.00,Default,,0000,0000,0000,,hyperactivity of a\Ncomposer like Elliott Carter.
Dialogue: 0,0:11:51.00,0:11:54.03,Default,,0000,0000,0000,,I believe if people had\Ncomplete freedom of choice
Dialogue: 0,0:11:54.03,0:11:56.08,Default,,0000,0000,0000,,they would always take the works of
Dialogue: 0,0:11:56.08,0:12:00.00,Default,,0000,0000,0000,,Matthias Pintscher, Elliott Carter \Nor Pierre Boulez
Dialogue: 0,0:12:00.00,0:12:03.08,Default,,0000,0000,0000,,or Marc-AndrĂŠ Dalbavie \Ncompose for example.
Dialogue: 0,0:12:04.00,0:12:07.00,Default,,0000,0000,0000,,And I really hope that in 250 or 300 years
Dialogue: 0,0:12:07.00,0:12:11.07,Default,,0000,0000,0000,,people will think about their\Nworks the way we think about
Dialogue: 0,0:12:11.07,0:12:14.07,Default,,0000,0000,0000,,the works of Mozart or Bach.
Dialogue: 0,0:12:14.07,0:12:20.00,Default,,0000,0000,0000,,That what the composers want to\Nsay with their works today
Dialogue: 0,0:12:20.00,0:12:24.00,Default,,0000,0000,0000,,may be seen as visionary,\Nand can't be understood
Dialogue: 0,0:12:24.00,0:12:25.10,Default,,0000,0000,0000,,without some explanation.
Dialogue: 0,0:12:26.00,0:12:30.00,Default,,0000,0000,0000,,But you do want a kind of guide.
Dialogue: 0,0:12:32.07,0:12:36.06,Default,,0000,0000,0000,,This language has become established
Dialogue: 0,0:12:37.00,0:12:43.00,Default,,0000,0000,0000,,and is fully integrated in the\Nmusical language of the classical world
Dialogue: 0,0:12:43.00,0:12:49.09,Default,,0000,0000,0000,,as the natural further development\Nof the musical language of Bach or Mozart
Dialogue: 0,0:12:50.00,0:12:56.00,Default,,0000,0000,0000,,Schubert, Brahms, Mahler, Berg, Weber,\Nand today... Carter.
Dialogue: 0,0:12:57.00,0:12:59.00,Default,,0000,0000,0000,,When you're playing a new score that
Dialogue: 0,0:12:59.00,0:13:03.00,Default,,0000,0000,0000,,no one else ever played before\Nyou, since it is a world premiere,
Dialogue: 0,0:13:03.00,0:13:07.00,Default,,0000,0000,0000,,is there any particular\Ndifference to the manner
Dialogue: 0,0:13:07.00,0:13:11.00,Default,,0000,0000,0000,,in which you prepare\Ncompared with 'old' works?
Dialogue: 0,0:13:11.02,0:13:14.03,Default,,0000,0000,0000,,Absolutely, when you discover a new work,
Dialogue: 0,0:13:14.03,0:13:16.10,Default,,0000,0000,0000,,it's really like going\Nsomewhere you've never been.
Dialogue: 0,0:13:17.01,0:13:20.07,Default,,0000,0000,0000,,You have no idea when the ground\Nmight fall away beneath your feet,
Dialogue: 0,0:13:20.07,0:13:23.01,Default,,0000,0000,0000,,or how the different performers\Nreact to one another.
Dialogue: 0,0:13:23.01,0:13:25.00,Default,,0000,0000,0000,,Is there any kind of a cushion\Nbetween the instruments?
Dialogue: 0,0:13:25.00,0:13:30.03,Default,,0000,0000,0000,,You don't know if you'll get the feeling\Nof being attacked around the next corner.
Dialogue: 0,0:13:31.00,0:13:36.00,Default,,0000,0000,0000,,You have to be careful, especially \Non the lookout and respectful.
Dialogue: 0,0:13:36.00,0:13:38.08,Default,,0000,0000,0000,,But once you've completely\Nworked your way
Dialogue: 0,0:13:38.08,0:13:40.05,Default,,0000,0000,0000,,through the piece for the first time
Dialogue: 0,0:13:40.05,0:13:44.06,Default,,0000,0000,0000,,and you begin to review the piece\Nfor the second time,
Dialogue: 0,0:13:44.06,0:13:51.00,Default,,0000,0000,0000,,it's a little like going into a museum\Nand seeing a new work hanging there.
Dialogue: 0,0:13:51.00,0:13:54.05,Default,,0000,0000,0000,,It was never hanging in that room\Nbefore and now it's there.
Dialogue: 0,0:13:54.05,0:13:57.02,Default,,0000,0000,0000,,The room feels completely different\Nand you are initially irritated.
Dialogue: 0,0:13:57.02,0:14:00.02,Default,,0000,0000,0000,,But then you look at the work a little more\Nclosely and get used to the new work
Dialogue: 0,0:14:00.02,0:14:03.07,Default,,0000,0000,0000,,and you notice the texture of\Nthe work, how it's put together.
Dialogue: 0,0:14:03.07,0:14:09.03,Default,,0000,0000,0000,,And taking a few steps back\Nyou look at the work from different angles.
Dialogue: 0,0:14:09.03,0:14:13.04,Default,,0000,0000,0000,,And you notice 'aha, there's this aspect\Nor that one...' this surface, this material.
Dialogue: 0,0:14:13.04,0:14:17.00,Default,,0000,0000,0000,,And that's exactly how we approach\Na new musical work.
Dialogue: 0,0:14:17.00,0:14:21.07,Default,,0000,0000,0000,,And the analysis of the work\Ntakes on a form, a structure of
Dialogue: 0,0:14:21.07,0:14:24.01,Default,,0000,0000,0000,,one has to try to find the key
Dialogue: 0,0:14:24.01,0:14:26.00,Default,,0000,0000,0000,,to how the work is put together\Nit's like sentence structure
Dialogue: 0,0:14:26.00,0:14:29.00,Default,,0000,0000,0000,,in order that it makes sense
Dialogue: 0,0:14:29.00,0:14:32.04,Default,,0000,0000,0000,,it's all words following one anther\Nthat make sense in some way
Dialogue: 0,0:14:32.05,0:14:37.04,Default,,0000,0000,0000,,and it's our job as performers\Nto try to understand the composition
Dialogue: 0,0:14:37.04,0:14:40.06,Default,,0000,0000,0000,,preferably without a\Nphone call to the composer.
Dialogue: 0,0:14:40.06,0:14:42.06,Default,,0000,0000,0000,,That's what I was about to ask,
Dialogue: 0,0:14:42.06,0:14:46.00,Default,,0000,0000,0000,,the advantage of working on\Npieces from living composers
Dialogue: 0,0:14:46.00,0:14:50.00,Default,,0000,0000,0000,,is naturally that you\Ncan ask composers questions.
Dialogue: 0,0:14:50.00,0:14:53.00,Default,,0000,0000,0000,,Does it help to talk with the composer?
Dialogue: 0,0:14:53.00,0:15:02.00,Default,,0000,0000,0000,,I don't like too many influences\Nwhen I'm preparing a new work.
Dialogue: 0,0:15:02.00,0:15:10.00,Default,,0000,0000,0000,,When a composer has reacted\Nto a suggestion to create a piece,
Dialogue: 0,0:15:10.00,0:15:15.00,Default,,0000,0000,0000,,or he approaches us himself\Nwith a piece he's composed
Dialogue: 0,0:15:15.00,0:15:18.00,Default,,0000,0000,0000,,that's already quite a step.
Dialogue: 0,0:15:18.00,0:15:22.00,Default,,0000,0000,0000,,But, then you have two \Ndifferent types of work,
Dialogue: 0,0:15:22.00,0:15:25.00,Default,,0000,0000,0000,,the creator, the composer\Nmaking his piece
Dialogue: 0,0:15:25.00,0:15:31.00,Default,,0000,0000,0000,,and the performer who plays \Nthe music or reanimates it, so to speak,
Dialogue: 0,0:15:31.00,0:15:35.00,Default,,0000,0000,0000,,those are two very different\Nroles and I don't want
Dialogue: 0,0:15:35.00,0:15:40.00,Default,,0000,0000,0000,,to have any limiting influence\Non creativity of the composer.
Dialogue: 0,0:15:41.00,0:15:47.00,Default,,0000,0000,0000,,I think the burning idea,\Nthe cry that leads to the birth of the work,
Dialogue: 0,0:15:47.00,0:15:57.00,Default,,0000,0000,0000,,is so very important for the whole world,\Nbut for me as a musician
Dialogue: 0,0:15:57.00,0:16:00.00,Default,,0000,0000,0000,,it's the only way I can move ahead.
Dialogue: 0,0:16:00.00,0:16:04.00,Default,,0000,0000,0000,,If I give a commission\Nfor a work to be composed,
Dialogue: 0,0:16:04.00,0:16:08.00,Default,,0000,0000,0000,,tailor-made for me, then\Nno one moves ahead.
Dialogue: 0,0:16:08.00,0:16:10.00,Default,,0000,0000,0000,,It may be a personal 'tour-de-force' that
Dialogue: 0,0:16:10.00,0:16:14.00,Default,,0000,0000,0000,,shows off my talents but\Nit becomes self-serving,
Dialogue: 0,0:16:14.00,0:16:20.00,Default,,0000,0000,0000,,and that isn't what musical\Ncreation is supposed to be about.
Dialogue: 0,0:16:20.00,0:16:22.00,Default,,0000,0000,0000,,My job is to serve the composition as best
Dialogue: 0,0:16:22.00,0:16:26.00,Default,,0000,0000,0000,,I can understand and\Ninterpret it to the world.
Dialogue: 0,0:16:26.00,0:16:34.00,Default,,0000,0000,0000,,So a composer needs to know that\Nas soon as he allows a work to be printed.
Dialogue: 0,0:16:34.00,0:16:39.01,Default,,0000,0000,0000,,It belongs to the whole world and\Neveryone can play it the way they'd like.
Dialogue: 0,0:16:39.01,0:16:42.04,Default,,0000,0000,0000,,And it's like a newborn that\Nbegins to make its way
Dialogue: 0,0:16:42.04,0:16:46.00,Default,,0000,0000,0000,,and master its own future.