You begin your series of focus concerts on the podium of the Gewandhaus Orchestra with Joseph Haydn’s symphony „Der Philosoph“. Why did you choose Haydn, and what do you appreciate about his music?
Haydn is one of the greatest symphonists of all time, and his importance in developing the symphonic genre cannot be overestimated. Haydn’s portraits convey an impressive, respect-inspiring personality, which he undoubtedly was. One of the challenges is that Haydn’s music demands a great deal – technically, musically, intellectually and emotionally. Haydn’s music is a fine line to walk if you want to balance what is written in the score on the one hand and between the lines on the other. Haydn’s legendary humour never ceases to surprise.
The second programme includes a symphony in F sharp minor, composed by Dora Pejačević – a very special work from a Musikverein perspective, as two of its movements were first performed at the Musikverein in 1918.
This symphony is a real discovery! We played it twice during the Corona period in Leipzig. Its emotional content, musical developments, and richness of sound colours, not least due to the use of a vast orchestra, make it an exciting work. It is pleasing to the ear and touching, composed in the very personal language of this composer.
What can we all do in the music industry to bring more female composers into concert programmes?
It’s simply about playing and listening to them. There are sometimes strange reasons why compositions have not been performed. When we listen to or play a concert or opera, we are looking for an emotional, intellectual, or human experience. What counts is the depth of the music, its content, its quality, and perhaps also the novelty or simply the immediate sensations that the music evokes. We have to go into the archives and look around, but also in the present. Ultimately, it doesn’t matter whether a work was composed by a woman or a man.
