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[APPLAUSE]
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[APPLAUSE]
ANDLINNY FOR
VIOLA.
TO OUR SOLOISTS.
AT THEAN TE
PODIUM.
NO ONE PLAN ACCEPT THE SOLO
VIOLIN.
-- PLAYING ACCEPT A SOLO VIOLIN.
OTHER COMPOSERS HAVE
WRITTEN ALTERNATES.
CALL FOR OUR SOLOIST,
CHRISTIANAMESTIT AND
TETZLAFF ON THE RIGHT.
HANDSHAKE.
OF MOZART, ONE
THAN 600 PIECES.
WRITTEN FOR VIOLIN, VIOLA, AND
ORCHESTRA.
THE SOLOISTS GET ABOUT
TWO THEMSELVES.
CALLING ON THE MOSTLY MOZART
ORCHESTRA TO STAND.
NOTICE THAT HALL IS
MOSTLY RECONFIGURED.
THE NEW THE HALL OF
YORK PHILHARMONIC.
JUST ON THE FRONT OF THE STAGE,
SIDES OF THE
FESTIVAL ORCHESTRA FOR THIS
OF THE 2011 MOSTLY
AT LINCOLNIVAL
CENTER IN NEW YORK CITY.
A BIG MONTH FOR CHRISTIAN
TETZLAFF.
WILL PLAY WITH THE BBC
AT THE ROYAL ALBERT
HALL.
TOUR AFTERH AMERICAN
THAT.
AT TONIGHT'SED
INTERMISSION.
ORCHESTRAGREE AND THE
BACK TO WELCOME SUSANNA
PHILLIPS.
AFTER WHICH I WILL TRADE AS TO
SYMPHONY -- THEY WILL TREAT
LINZ SYMPHONY.
MOZART HAD A MAC?
ARE WAITING FOR WORD OUR
VIOLINIST IS AT THE GREEN ROOM.
MOZART ON THE WAY.
"DONAOM THE
" ONE IS A STANDALONE
WRITTEN.
THIS CONCERTG
LIVE FROM LINCOLN CENTER.
TO THE GREEN ROOM WITH
ZHAKZLAFF AND IS
PERLMANN.
>> I WAS WATCHING AND IT IS NICE
TO SEE.
IS WHAT SOMEONE DOES NOT
IN THEN YOU SIT
AUDIENCE.
OBVIOUSLY THAT WAS NOT THE
PLAYED THIS
PIECE.
OTHER VALEAYED WITH
PLAYERS?
>> THE REASON I AM ASKING IS MY
WITH THAT PIECE IS
LIMITED.
-- ONE WE REHEARSE, IT IS,
WE KNOW HOW IT GOES, WE KNOW
WHAT TO DO.
ELSE,SOMEONE
VIOLIST, ANYTHING
REHEARSAL?
OF COURSE.
HAVE A TRADITION IN
OTHER PLAYERS
THE VIOLINIST.
THOSE IDEAS THAT
SENSE.
FROM THE OTHER
THOSE THAT DID NOT,
ARE GROWN UP ENOUGH TO SAY WE
DID NOT LIKE THAT.
WAS MY NEXT QUESTION.
>> I WOULD LIKE TO PLAY WITH A
EASILYWHO IS
OFFENDED.
THAT EVERYONE
ABOUT STYLE.
THERE SUCH A THING AS A
PLAYER AS OPPOSED TO A
PLAYER?
I WOULD SAY NO.
DEVELOP IN THE LANGUAGE OF
PIECE.
THANMSIFFERENT IN
MOZART.
MOREDS BRAHMS
SOUND AND STRONG ACTION
ACTION ESPECIALLY IN
NEVER GO INTOULD
VIOLENCE.
THAT REFLECTS ON HOW YOU USE THE
INSTRUMENT.
KIDS AND II TEACH
FIND TO PLAY MOZART IN A SENSE
PLAY A DIFFICULT THAN TO
CONTROL. BRAHMS
IT IS MORE TECHNICALLY
DIFFICULT.
HAVE EVERYTHING, THE
WITHGY, SOMETHING IS
BODY, IT WOULD BE
IMMEDIATE.
HIDE. CANNOT
SEE.
SPEAKING OF THAT, I UNDERSTAND
DO QUITE A BIT OF
TEACHING.
>> YES.
STUDENTS.
A PROFESSOR.
ALSO TEACH WHENEVER I AM ON
TOUR.
SO MANY EMPTY MORNINGS
WHEN YOU HAVE CONFLICT.
DOES ONE DO?
ON LOVE TO TEACH AND ALSO
TOUR.
FIND ABOUTYOU
TEACHING?
WHAT DO YOU FIND?
ONCE YOU LEARN SOMETHING
PIECES, THEN YOU LEARN
FIND A CLEAR PICTURE OF
DONEK HAS TO BE
AND SOMETIMES YOU ARE SURPRISED
LITTLE YOU LOOK AT IT
FIND A CLEAR PICTURE.
BENEFIT AND
HOPEFULLY THERE IS A BENEFIT FOR
THE STUDENT IF YOU TEACH.
DO YOU FIND THAT YOU LEARN
TEACHING?E
YES.
IDEASE ALSO FROM THE
THE SOUNDS, EVERY DIFFERENT
STUDENT BRINGS.
WHATTEACHING,
DIFFICULT?
WHO WAS NOT SOE
SOMEONE WHO WAS REALLY
FABULOUS?
IF YOU'RE TALKING
IS HARD TO TEACH
FABULOUS BUTAS
YOU CAN GO FURTHER.
I FIND IT IS TERRIBLE.
>> I MEET PLAYERS WHO THINK PLAY
CAN.R THAN I
THAT IS NOT THE POINT.
IT IS SO FANTASTIC I DO NOT
DO IT.
YOUR CHILDREN?
ARE THEY INTERESTED IN MUSIC?
PLAY ACTIVELY.
ONE OF THEM IS IN A YOUTH
ORCHESTRA.
>> ARE YOU PUTTING -- PUSHING
THEM OR LETTING THEM JUST --
I AM SURPRISED HOW MUCH
INTEREST THEY TAKE.
IS ALWAYS THE BEST.
HAVE TO GO.
THANK YOU SO VERY MUCH.
PLEASURE.BLEM -
TALKINGLMAN WILL
LANGREE IN A THE
MINUTES.
A LOTSTION MOZART WROTE
OF MUSIC.
WONDERS WHAT WOULD HAVE
HAD THE IF HE
OF MODERN TECHNOLOGY.
I SEE AN AWFUL LOT OF NOTES
TO WRITENE ELSE HAD
THEM DOWN.
SOME COMPOSERS WRITE MUSIC ON
PAPER.
ABOUT GLAT,
SHARP?
MOZART HAD IT IN HIS HEAD.
COMPOSE ON PAPER.
HE SIMPLY COPIED WHAT HE HEARD
MIND.
HE WAS NOT MAKING IT UP AS HE
WENT ALONG.
ALREADY EXISTED.
JUST IN HIS HEAD.
WHICH BEDMINSTER WONDERING.
YOU HAD TO TRAVELING,
GIVE CONCERTS IN DIFFERENT
ALWAYS ON THEWAS
ROAD.
SOMETHING ABOUT THAT.
40E DAY, HE ARRIVED IN LINZ
CONDUCT A CONCERT IN FOUR
HAD A REAL PROBLEM.
NOT BROUGHT HIS SYMPHONY.
IN THOSE DAYS IT WAS LIKE ME
UP WITHOUT MY VIOLIN.
MOZART, THE MERKEL WORK.
IT WAS NOT A PROBLEM.
WOULD SIMPLY WRITE A NEW
SYMPHONY.
WROTE IT IN FOUR DAYS.
WITHDERED, HERE IS MOZART
AND INK RIDING OUT THOUSANDS
OF NOTES BY CANDLELIGHT.
NOWADAYS WE HAVE COMPUTER
TO WRITE MUSIC.
WOULD HE HAVE BEEN BETTER OFF
MACHINE OR BY HAND?
WHAT DID THE FASTER THAT HE
LINZ HAVE WRITTEN
SYMPHONY IN TWO DAYS?
HAVE MORE MUSIC IF HE
HAD A COMPUTER?
MAC?IF HE HAD A
WRITINGRY SPIVAK
PAPER.WN ON
I AM NOT MOZART.
SYMPHONY ONTHE LINZ
HIS SOFTWARE SETUP.
ROBIN NOR EITHER
COMPOSING.
THERE WERE COPYING.
HIS HEADAT WAS IN
ROBIN WHAT IS ON
PAPER.
♪
♪
THEEASY TO EDIT ON
COMPUTER.
QUICKLY FIX IT AND IT
LOOKS GREAT.
>> HOW DO YOU GET THE MUSIC IN
AIR?
♪
♪
BY HAND OR THE
COMPUTER IS JUST A TOOL.
JUSTION, IT IS NOT
NOTES.
OF PRACTICALT
EASIER TO DO BY
HAND, FOR INSTANCE CREDIT CAN
FASTER FOR EDITING.
NOTN WITH COMPLEX MUSIC IS
ANY FASTER.
-- IS NOT ANY FASTER.
WHILE THERE IS SOME
DISAGREEMENT, IT IS LIKELY THAT
HANDARE WRITING BY
MUSIC FASTER THAN A
COMPUTER.
LIVED TODAY, WOULD HE
BE RIDING ON THE COMPUTER?
COULD PLAY THE PIANO, HE
COMPUTER.Y ON THE
MOZART AS HE
COULD GIVE US.
WE ARE ABOUT TO START THE
TONIGHT'SF OF
OPENING NIGHT LIVE FROM
LINCOLN CENTER.
HOST FOR A QUICK
WITH LOUIS LANGREE.
>> THANK YOU FOR BEING HERE.
BRAVO FOR THE FIRST HALF, IT WAS
WONDERFUL.
THANK YOU.
FOR MAKING THE
PROGRAM NOT WHAT IT IS SUPPOSED
TO BE.
MOSTLY MOZART.
I THANK YOU FOR THAT.
WAS WONDERFUL.
YOU MAKE A PROGRAM?
THIS PARTICULAR PROGRAM.
>> THIS IS THE OPENING NIGHT.
BE EVEN MORE FESTIVE
NORMAL, THAN USUAL.
WON -- WANT TO GIVE A BUNCH
TALENTTHE FACETS OF
OPERA OR RSE,
MUSIC IS INEVITABLE.
AND WHAT IS AMAZING ALSO IS
CONCERTO MUSIC OR
IS ALSO THEATRICAL.
>> VERY OPERATIC.
FOR ME, ONE OF THE GREAT SOLOS
VIOLA SOLO, THE SECOND
ENTRANCE OF THE SECOND MOVEMENT.
ABSOLUTELY UNBELIEVABLE.
ONLY THING IS, THERE IS
THEATRICAL -- THERE IS A
MUSICAL ONE.
WE DO NOT HAVE THE TEXT TO
INSPIRE US.
A MEETING.
IT HELPS.
SOMETIMES WHEN I TEACH IF A
QUITE WHATS NOT KNOW
WITH THE MELODY, I SAY
TEXT AND THAT REALLY
HELPS.
YOUULD LIKE TO ASK YOU
OF OPERA.LOT
TONIGHT AS FAR AS I'M CONCERNED
YOU ARE CONDUCTING, THE WHOLE
EVENING AS OPERA.
IS OPERA.
IS THERE A DIFFERENCE IN THE
CONDUCT, THE WAY YOU
FEEL WHEN YOU ARE CONDUCTING A
?PRODUCTIONONDUCT --
IT MORE OR LESS THE SAME?
THERE IS A TECHNICAL
DIFFERENCE.
THE ORCHESTRA IS IN THE PIT.
SOME PLAYERS ARE UNDER THE
STAGE.
DIRECT CONTACTE
SINGERS.
SO TECHNICALLY, YOU PROBABLY
MORE LIKE A TRAFFIC
COP.
I SEE.
ENSEMBLE.
ONE THING THAT IS IMPORTANT FOR
TO KNOW AND FOR THE
ARIAS WE'RE GOING TO PLAY.
THING, THE CONDUCTOR SHOULD
PLAY THAT BOAST --
WHAT TO IMPORTANT
PLAY.
WHAT DO WE SAY?
THE CONTEXT?
WHAT IS THE STORY?
YOU DO MORE WITH STORY WHEN
CONDUCT OPERA.
ABSOLUTELY.
OFTEN WITH MOZART, THE
THE SOUL OF THE
SHOW IS D A
HAVE THE FEELING THAT
THE ORCHESTRA COMES
THE SINGER.
SINGSANNA PHILLIPS
CONCERTI" AND A
ARIA.
>> FOR THE PIANO CONCERTO,
KNOWS THEY ARE A
THEERPIECE AND YOU HEAR
TIME.HE
ARIAS.CERT
NEVER HEAR THEM.
AND THEY ARE SO AMAZING.
VERY WONDERFUL
STORY.
ABSOLUTELY AMAZED.
ROOM,E LOCKED MOZART IN A
TELLING, I WANT YOU TO WRITE
SOMETHING FOR ME.
AMAZING AS THAT.
SAID, WELL, IF YOU CAN SIGHT
WITHOUT ANY MISTAKE, IT
YOURS.
PUT IT IN THE
FIRE.
WE STILL HAVE IT.
EITHER SHE WAS THAT GOOD OR HE
FORGAVE HER.
ANDONESAAND
SEMI-TONES.
IT WAS CRAZY.
WOULD IT BE LONGER IF HE HAD
LIVED LONGER?
IS WHAT HE
MORE TO TELL US.
I DO NOT KNOW.
I DO NOT BELIEVE THAT.
ME NEITHER.
DIE YOUNG OR TOO YOUNG,
PROBABLY TOO YOUNG.
LINZ US ABOUT
SYMPHONY.
DRAMATIC. SO
OF HISTORICAL
MUSIC, THERE IS THE MASTER
WRITING FOR ORCHESTRA.
AND ALL THIS VARIETY OF
ATMOSPHERE.
THEY SWITCHED GEARS.
ALL THEATIC AND
SUDDEN IT WOULD BE TENDERED.
IS ONE UNIFIED PEACE.
BIG MARCH TO THE
LAST NOTE.
>> ALL IN FOUR DAYS.
I'M LOOKING FORWARD TO HEARING
IT.
THANK YOU.
THANK YOU, THANK YOU VERY
MUCH.
>> WE WILL BE BACK FOR THE
OF TONIGHT'S MOSTLY
MOZART OPENING NIGHT WITH
SOPRANONG -- WITH
PHILLIPS AFTER THIS
BREAK.
"LIVE FROM LINCOLN CENTER" IS
BY A MAJORLE
METLIFE.
FROMIONAL SUPPORT
--
♪
1962SONRT WOOD
DEDICATED TOUST,
AND REACHING THE LIVES OF ALL
AMERICANS THROUGH MEDICAL
RESEARCH, EDUCATION, AND THE
ARTS.
BELFER AND RENEE
FAMILY FOUNDATION.
BASS.ES AND S
THE NATIONAL ENDOWMENT FOR
THE ARTS.
>>
WELCOME BACK TO THIS LIVE
LINCOLN CENTER BROADCAST OF
MOZART FESTIVAL'S
OPENING NIGHT.
PHILLIPS ABOUT TO TAKE
THE STAGE FOR TWO GREAT AREAS.
SHE WILL OPEN THE SECOND HALF OF
THE CONCERT WITH A FEW MINUTES
GIOVANNI".
WILL SING IN CHARACTER.
HE ACCUSES HER OF BEING CRUEL
HER WEDDING.G
ME, CRUEL, NO?
GRIEVES ME TO POSTPONE THIS
BLISS WE BOTH DESIRE.
THE WORLD SITE, A GIRL
MARRIED SO SOON AFTER
FATHER'S DEATH.
SHE WANTS TO GET MARRIED BUT SHE
ALSO WANTS REVENGE AND IT IS AN
RANGE. EMOTIONAL
LOVE AND TENDERNESS AND GRIEF
AND ANGER.
SUSANNA PHILLIPS TAKING THE
STAGE WITH LOUIS LANGREE AND THE
ORCHESTRA.ART
♪
DELE?
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[APPLAUSE]
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[APPLAUSE]
SUSANNA PHILLIPS SINGING A
STAND-ALONE CONCERT ARIA.
LOVE, FAREWELL.
LOUIS LANGREE CONDUCTING THE
MOZART ORCHESTRA, COMING
YOU LIVE FROM LINCOLN CENTER.
TAKING YETLLIPS
ANOTHER BATTLE.
-- ANOTHER BOW.
WAS A STUDENT AT THE
JUILLIARD SCHOOL.
MASTER'S FROM 2004.
COUNCIL AUDITIONED
YEAR.XT
SHE WON JUST ABOUT EVERY AWARD A
COULD WIN.R
AWARD NEAR AND DEAR
US, THE METROPOLITAN OPERA'S
BEVERLY SILLS AWARD.
BOW, BUT
WELL.S AS
APPLAUSE FROM THE FULL HOUSE AT
AVERY FISHER HALL.
UP FORCES AND A
PHILIPS.
ANDR
IN "LA BOHEME".
HER NEW FRIEND, LOUIS LANGREE,
BE CONDUCTING.
JUST AROUND THE CORNER IN NEW
YORK CITY.
AS YOU CAN SEE, THE FESTIVAL
FOR SYMPHONY
NO.
36.
27.AS
HE AND HIS WIFE WERE ON THE ROAD
LINZ, AUSTRIA.
COUNT INSISTED THEY STAY WITH
HIM.
THE GOT THE BEST TREATMENT
FOR THREE WEEKS, GREAT
BEST WINE, WONDERFUL
ACCOMMODATIONS WHILE THE COUNTY
SOMETHING IN RETURN.
WANTED A CONCERT WITH A
SYMPHONY.
WAS ON THE ROAD AND DID
HAVE MUSIC WITH HIM.
THE CONCERT WAS FOUR DAYS AWAY
AFTER HE ARRIVED.
HE WROTE THE PIECE WE'RE ABOUT
HEAR IN FOUR DAYS.
EVERY NOTE FOR EVERY PLAYER IN
ORCHESTRA, HE WROTE THE
DAYS. PEACE IN FOUR
SO THE THE NO.
36.
HE BEGAN WITH A SLOW
ANEATESTION AND
SUSPENSEFUL MOOD FOR THE
MINUTES.PLE OF
TURNS INTO A GRAND MARCH AND
ALMOST A PARTY ATMOSPHERE TWO
BEAUTIFUL,AND A
MOVEMENT, AND
DANCE AND MINUET IN THE
EXUBERANTMENT AND AN
MOVEMENT.
MOZART --0 BY
BY MOZART.
BEEN RE SAID.
MEMBERS ALL AROUND THE
MOZART FESTIVAL.
LANGREE ON HIS WAY BACK TO
THE PODIUM.
ASKING THE ENTIRE MOSTLY MOZART
ORCHESTRA TO STAND AND
TAKE A BATTLE WITH HIM.
-- BOW WITH HIM.
LINZ SYMPHONY.
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MOZART ROBOT SYMPHONY IN FOUR
DAYS.
WRITING EVERYACE
SINGLE NOTE BY HAND.
LOUIS LANGREE LED THE MOSTLY
IN 17 NO.HESTRA
36.
SYMPHONY NO.
36.
TOWATCH THIS ONLINE, GO
PBS.ORG.
HOUSE, A WARM
OVATION FOR THE FESTIVAL
ORCHESTRA.
LANGREER LOUIS
RETURNING TO THE STAGE NOW.
OUT MEMBERS OF THE
ORCHESTRA.
THE BASSOONIST AND HORN
SOLOIST.
BALM AND ALL THE MEMBERS
BOW AND THIS IS
OVATION.NTO A STANDING
AT LINCOLN CENTER IN NEW YORK
CITY.
LANGREE OPENING HIS NINTH
SEASON.
LANGREE LIVES IN PARIS
HIS WIFE, ANDY,
OUTLD-REN, AMONG THE
FOR THE MOSTLY MOZART
FESTIVAL.
ASKING THE
HISESTRA TO JOIN HIM
BOW.
NEXT BROADCAST WILL BE BACK
HERE COMING UP ON SEPTEMBER 21.
IT WILL BE THE OPENING NIGHT
FOR ANOTHER ORGANIZATION,
PHILHARMONIC.
ANIC BY SAMUEL BARBER AND
"TANNHAUSER".
OPENING NIGHT WEDNESDAY,
SEPTEMBER 21.
YOU CAN WATCH AND LISTEN RIGHT
LINCOLN
CENTER.
FOR THEOR JOINING
IVAL FROM ART FEST
LINCOLN CENTER.
WITH ADDITIONAL SUPPORT BY --
THE ROBERT WOOD JOHNSON 1962
CHARITABLE TRUST, DEDICATED TO
ALLCHING THE LIVES OF
AMERICANS THROUGH MEDICAL
RESEARCH, EDUCATION, AND THE
ARTS.
BELFER RT AND
SIDDATION, MERCEDES AND
AND THE NATIONAL ENDOWMENT
FOR THE ARTS.
Jim Stavrakakis
is a proud veteran.
My job was aerial photography, and I'd go up on combat flights.
But he was also drawn to the people.
I've always had a curiosity of people.
And public TV answers your curiosity of life.
Jim included his
public television station in his will.
Consider joining the community of people who want public
("Stars and Stripes Forever"
playing)
>> Every July 4, rain or shine,
the Boston Pops celebrates our
nation's birthday.
A half million people gather on
Boston's Esplanade for the
festivities, and millions more
watch on television.
It's an unbelievable event.
They've got fireworks, cannons.
To top it all off, this shebang
has a reasonably priced MC-- me,
Craig Ferguson.
For the past three years I've
had the pleasure of hosting this
event.
In fact, that's me on YouTube.
Don't you be YouTubing me!
No, I didn't get to play an
instrument, or conduct, or even
fire a cannon.
But I did get to do a little
riverdance with Keith Lockhart.
He dances a mean jig.
Join us for a birthday
blast of our own.
Tonight, the Boston Pops
celebrates 125 years of playing
America's music.
Tonight we honor America's
orchestra.
And what gift are we bringing to
this party?
The entertainment.
Great music, incredible
performances, rare footage,
and even a few surprises.
Here are just a few of the
folks who will be a part of this
celebration.
Chris Botti, Karen and Richard
Carpenter, Johnny Cash, Kristen
Chenowith, Ella Fitzgerald,
Roberta Flack,
Josh Groban, Itzhak Perlman,
Bonnie Raitt, John Raitt
James Taylor, Vanessa Williams,
the Boston Pops Orchestra,
Keith Lockhart, Conductor,
John Williams, Laureate
Conductor, and Arthur Fiedler.
>> America's Orchestra-- 125
years of the Boston Pops is
made possible by a grant from
the Mugar Foundation.
>> Welcome to Symphony Hall, at
a point that I think few of you
have had a chance to see it--
that is when there are no people
in it.
We're just set up here.
It looks pretty normal.
We're ready to do another Boston
Pops concert.
But you should have seen this
place a few hours ago.
Each May since 1900 the hall has
reinvented itself.
The Symphony's straight back
leather chairs are unbolted, and
disappear through a hidden
elevator in the middle of the
floor.
♪
Up come the tables and chairs,
and 24 hours later, presto, it's
Pops season once again.