Michel Tilkin & The Luca Chamber Orchestra


Good evening Michel you’ve
been working now with the Luca Chamber Orchestra for four days preparing for
tonight’s concert of Mozart and Schubert how’s it gone? Well it went great I
think we had a wonderful week we started last Sunday rehearsing every day two
rehearsals quite tough work because of course it’s
not easy music, it’s chamber music. A chamber orchestra is different from a Symphony Orchestra but they did great, they worked very hard
no one ever played one of these pieces before so it’s like working on a new
page for everyone so it was a challenge but I think we did well the
whole week, we worked very hard When you’re not here in Belgium you are
the principal conductor for the Royal Bangkok Symphony Orchestra what’s
the difference for you when you’re conducting young musicians versus
seasoned professionals? Well it’s about speed
generally the there’s a big difference in speed of course when you work with
with the Royal Bangkok Symphony Orchestra, in general their age is quite young too but they have more experience so these kind of programs you could manage with four rehearsals and get it in
a good shape so basically the difference is speed how you can can get
it ready to perform. For the rest it’s really no big difference I mean when you
have of course the very old German classical orchestras which I have also conducted, you can do this program with let’s say two
rehearsals and get that level because everyone knows the pieces, so it is only
a matter of interpretation of what I want to do with it and they will get it very
fast. Here you have to work on technique too so that’s different. with the big professional orchestras you don’t have to work on that. Most academies have young aspiring
conductors of their own so why is it so important for young musicians to have
the chance to work with an international conductor such as yourself? I would not
say that young conductor is always a bad thing to work with because they’re
generally very well-prepared. they really have to prove themselves so they generally take more risks in interpretation because they
want to prove their individual capacities and their their thoughts
about it about music. With an older conductor, experienced conductor probably
they the older conductor brings a lot of experience and he’s more realistic in
what can be done or what cannot be done so probably the result with an older
conductor will probably will be better than with a very young conductor but it
could be sometimes more exciting to work with very young conductors so I would
not say it’s better or better or worse one or one or both but I think is
completely different and I try to give them my experience with
ahead with the pieces which I did before which are where I know these are the
problems, this can happen, take care for this or that, so I think they will in
the end probably they will deliver a better result I noticed also in your style you do a
lot of storytelling especially when when I was setting up the recording equipment
stuff and they seemed to really feed off the stories because they were like real
things that have happened to you. I try to avoid too much stories because you
lose time but sometimes when there’s a moment when of
changement of stage I it’s better to talk to tell a story than to wait until
nothing happened so and they like it sometimes because sometimes the stories
are sometimes inspiring sometimes you say your stories are boring but that’s a
little bit how inspired I am myself. Well I think they enjoyed it very much can you remember the first time you ever conducted an orchestra? I was
not a conductor when I did it the first time. I was asked to be a coach for
the wind section on tour in Italy with the Flemish Youth Orchestra. Not this orchestra but one from the Flemish province of West
Flanders and the conductor said which was Robert Groslot, by the way who is
famous musician and conductor composer and he said I want to play
tonight Tchaikovsky Piano Concerto and you’re going to accompany me. I said I
never did an orchestra and he said don’t worry, I will follow you! and so we played it and we
did a wonderful performance Tchaikovsky piano concerto and that was my
first conducting and it that’s how it started! That changed your life in that
moment you made that decision to switch from being principal trombone player into conducting? Well it took a while before I did the switch but it got anyway in my head
immediately after that that might be something for me too – so what was it, what
was the big why for conducting, interpreting rather than performing? well
I was trombone player which is a very interesting instrument but of course you
you’re not in charge of what happens on stage your own is in charge on all the
dramatic moments and not and so for me it was like a kind of a challenge – to
do something new but it’s not my real choice I rolled into it basically, but I’m happy I rolled into it because now I enjoy it very much. Amazing, thanks very much indeed for your time. Good luck this evening in the concert. I’m looking forward to it. Thank you Harley, thank you very much!

Author Since: Mar 11, 2019

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