|I N T E R V I E W S|
|Musik als Stress|
|Musik & Gesundheit|
|Die Zukunft der Musik|
Sinn und Zweck
& Tote Musik
|Zeit & Zeitlosigkeit|
|Das ethische Gewissen|
|Der fixierte Rhythmus|
|In Gloriam Dei|
|The Future of the Orchestra|
JOURNALIST: How do you see the future of the orchestra?
In my opinion, there is no future in new music for the symphony orchestra.
It will disappear, just like the dinosaurs disappeared.
At present, this still more or less concerns pop and light music but it is only a question of time, and these developments will spill over to classical music, and there they will bring out remarkable performances of interpretation which will put everything that we know today, as a conventional orchestras interpretation of classical music, in the shade.
But here, too, this benefit of artistic performance will probably only play a secondary role in abolishing the symphony orchestra, because, as I have mentioned beforehand, taking part in a conventional orchestra is extremely hazardous to ones health.
On the one hand, the musicians ear is damaged with the noise of the orchestra, which exceeds the medically permissible level by far with 135 decibel by 32fold.
On the other hand, playing in an orchestra demands enormous concentration from the individual musician, because during the performance of harmonious music which applies to all classical music a single wrong tone played by a single musician will immediately be heard by everybody.
The musician cannot stand this pressure for long. The system of todays orchestra involves that a coductors mistakes are not perceived at all by the audience.
But nevertheless, he has managed to rise to this position where he monitors the situation that no musician is allowed to make a mistake. And if it so happens that a musician frequently plays a false tone, he might as well look for an other job. In this respect, the musician in an orchestra is under constant pressure.
He has a family, he has children to take care of, he also has his personal worries and hardships just like anybody else, but he must do a perfect job. In the long run, he is bound to fail.
The realisation of this system of conventional orchestra organisation, and the perverse performance situation which simply ignores human inadequacies, drives the musician step by step to frustration, and together with the increasing strain of aging, many of them turn to alcohol, stimulants or become addicted to pills.
In the end, all this will make him ill. This applies especially to the women in an orchestra, who, on the whole are even more sensitive than their male colleagues already are, and who are therefore even more susceptible to the stress and strain.
We mustnt forget: the system of the orchestra is a relic from the times of dictatorship. For this reason, the question of a musicians freedom, his well-being, his health and of his being overtaxed, his mental strain and frustration was historically not taken into consideration at all.
He had to
function like a soldier. Today, this is different. In our democratic
world of today we must indeed take care of the soldiers health,
and the same will have to be done for the musician in an orchestra.
That, however, does not necessarily mean the end of the musician.
Here, an enormous area of digital opportunities are available to him, and if he has enough love of music in him, and is open-minded, he will learn to use these means, and he will come up with interpretations that will completely astonish the listener.
In this case
he will become the free mediator between the classical music creator
and the listener without any inspectors whatsoever.
But therefore, at the same time, this process will bring the end of these music institutions. So, your question Can one learn music in a place of training? has been settled in a natural way.
I can still remember: when I was small, many people made their way briskly to the Ruhr Valley like to the Promised Land to participate in lucrative coal-mining.
This gold-digging spirit has not only long gone, but other developments have taken over coal-mining in such a way, that these people are faced with great problems, as to how they will earn a living.
This whole scenario, from the beginning to the heyday until the end, has not even lasted 50 years, and nobody will doubt that, according to todays level of knowledge, conventional coal-mining in the Ruhr Valley no longer has a future.
The same applies to the symphony and/or opera orchestra only that here, the artistic end will probably not be the decisive element, but the end due to health reasons.
The orchestras future is therefore not a musical or artistic problem, but a medical one.
And in a time when people are concerned with a general reduction of costs in the medical sector, these efforts will not stop for the orchestra.
Just as coal-mining in the Ruhr district, whilst at deaths door, is nowadays still being artificially subsidised from outside, and discussions about the end of these subsidies make peoples feelings run high, the symphonic or operatic orchestra is also artificially subsidised from the outside in the same way, and with discusssions about the subsidies their end is foreseeable.
Many individual fates are involved in these developments in coal-mining as in the symphonic orchestra , but its no use turning a blind eye on the facts of new developments.
Its much more worthwhile to adjust and adapt in time. Music existed prior to the symphonic and operatic orchestras, and it will go on existing. There is no need to mourn for music.Hübner
C L A S S I C - l i f e 2000-01
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