Get to know Manfred Honeck
This is the second time you’ve worked with the Philharmonia. How do you form a connection with a new orchestra very quickly when you’ve only got a short amount of rehearsal time?
I still have very fond memories of our Bruckner concert. The musicians were very well prepared – absolutely essential with regard to the short rehearsal time. It is also very important that a conductor immediately immerses himself in the essence of the music and specifically addresses his wishes. Small mistakes might happen in the course of the first rehearsal, but they will get addressed and will have disappeared the second time round. I have also got into the habit of preparing my own orchestral materials with very detailed markings. This way, the musicians immediately have the necessary information in front of them which helps them to grasp the interpretation right away.
Have you and Pierre-Laurent Aimard ever performed together before?
I had the pleasure of accompanying Pierre-Laurent Aimard in works by Beethoven and Messiaen. His experience with contemporary music enriches his view of Beethoven’s work. He is a very humble person and a very sensitive musician, listening to one another. He also loves chamber music.
How do you approach a very well-known piece like Dvořák’s Ninth Symphony? Are you inspired by other interpretations?
The title of the work is somewhat misleading. It’s called ‘From the New World’, but it’s actually an echo from the old world, very Czech in style – like a musical letter to his beloved homeland. I therefore call this symphony a symphony of homesickness. I am therefore interested in the typical Czech folk music and the way it is played, in what is new and undiscovered. I have had the pleasure of playing this symphony several times under great conductors, and it is always exciting to hear what my colleagues do with the music. It is also exciting when their interpretation does not align with my opinion.
Do you have a favorite moment in any of the pieces in this evening’s program that people should listen out for?
Weber’s Freischütz Overture tells a story. Life, the German forest, love, and darkness are all ingeniously woven in. Just before the bright C major at the end, there is an eerie tension, a sense of darkness, and a feeling of hopelessness that spreads. It’s amazing how Weber has musically depicted this.
In Beethoven’s Piano Concerto No. 3, it is certainly the chamber music moments between the woodwinds and the soloist.
As for Dvořák’s Ninth Symphony, there is an enormous amount to experience in this fantastic symphony. Firstly, I would like to point out that Dvořák was very sparse but deliberate in his orchestration. The tuba plays only in the second movement, as does the cor anglais, colouring the movement in a darker tone. The triangle only plays in the third movement, and there’s a single cymbal strike in the fourth movement. While one might think that he could have achieved a stronger expression by using these instruments more frequently, he still manages to create a grand effect. One moment that particularly touches me is when, in the coda of the fourth movement, the bassoon starts a folk song from his native country, a children’s song. This melody is usually very hard to hear, as the bassoon is covered by all the other instruments. You can sense here that, in his heart, he would have loved to have been with his children in his Czech homeland. Otherwise, it’s the traditional way of playing, such as in the trio of the third movement, that I always look forward to.
What is it like to stand on a podium on stage, in front of an orchestra, with an audience behind you, and begin conducting?
I’m waiting for the rotten eggs any moment…! But in all seriousness, as soon as I stand on the podium, I forget who or what is around me. I am then completely immersed in the music together with the musicians.
What do you always make sure to bring with you when travelling for work?
Apart from my mobile phone and passport, the bible, a good book and new scores that I need to learn.
Which other concert coming up in our London season would you most like to hear, and why?
I think that you have a very interesting program on offer. In addition to the many famous works and performers, I would also be interested in the rarely performed compositions in the free Philharmonia Chamber Players‘ concerts or Music of Today: Composers’ Academy.
