1. 18th January 2012 I stumbled upon French/German arte TV presenting a portrait of the Israel Philharmonic Orchestra, now celebrating its 75th anniversary – meaning, that this music-body was founded 1936 in a time, today most people of Western Europe will not be able to recall what EXACTLY was the situation in then British governed Palestine, with a manner of rule applied even some of the British today feel not that proud of.
2. Well, we must not go back to a time here, when Europe was quite in other ways a landscape of culture than today, when Poland, Tchechoslovakia, Hungaria and Austria enjoyed a FREE INTERMIXING and EXCHANGE especially in the fields of music, when quite a lot of German sounding names on second glance revealed roots from Jewish family with Hebrew origins.
3. Besides all the REALLY great names passing by – like Arturo Toskanini, Arthur Rubinstein , Leonard Bernstein, Zubin Metha, Daniel Barenboim, conductors and solists and quite a lot of others – there is something else very special in this orchestra, a spirit of pioneers, a practical organization as collectively owned cooperative, which both contribute to the impression of a strong drive towards ARTISTIC EXPRESSION in some very VIVID and VIBRATING FROM LIFE attitude.
4.Today Israel is very different from situation in 1936, today situation of music in Europe is rather different from situation in 1936. But with this arte-TV-presentation MY OWN THINKING ABOUT the WHY and HOW of levelled MUSIC PRACTICE became FRESH and urgent again. Why do I myself have a sense of DECLINE here in RICH GERMANY with regard to culture in general and to music in special? What is it, that I in my own situation as music-writer with nearly NO FEEDBACK AT ALL have the feeling, that the BASIC ABILITY for to do things together here in Germany is vanishing, that in the dichotomy between collegiality and competition the former is loosing ground? What is it, that I personally here in Germany feel in musical professionality so often a pitch of icy cold, making things PALE – such preventing musical events to reach the impression of “grandious” of “moments of and from eternity”?
5. Well, as everybody, here and in Israel and elsewhere, I have no answers to such observations. But I am certain, that practical work in music will proceed nevertheless – and I feel to a certain degree encouraged to stick to the OLD IDEAL, that all musicians are longing for GREAT MOMENTS OF GREAT MUSIC, just TRANSCENDING the mess of everyday-struggles with the subject a little bit!
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