The music does not transform the world, but, perhaps, be able to contribute
The music does not transform the world, but, perhaps, be able to contribute. While the backdrop of nuclear dispute, diplomatic tensions continue to poison the hopes of detente between the United States and the Democratic People's Republic of Korea (DPRK), the American conductor Lorin Maazel, at the head of the Philharmonic New York has demonstrated, Tuesday, February 26, in the Grand Theatre of Pyongyang.
Chose unthinkable until recently for the first time an American was ringing all its stamps at the very heart of one of the most closed countries in the world. A system-owned, and more importantly to the 'axis of evil', the group of countries honnis by American President George Bush.
On one side of the stage, the American flag on the other, that of North Korea: and had finally decided the protocol, the authorities in Pyongyang who first demanded the presence of their single banner. A simple sentence of American maestro was enough to trigger the breath of emotion, mâtinée pride, which has spread in the impressive gathering of dignitaries also stiff in their costumes that austere reluctant to delight. Prior to interpret An American in Paris, George Gershwin, the chief has made his voice raised these few words: "One day, perhaps, a composer would write in turn" Americans in Pyongyang. "
A sigh of unexpected bursts of mingled voices became widespread among 1500 spectators, men in grey and the few women in traditional long dresses. Visibly moved, a young part of the all-powerful Workers Party of Korea, which since 1948, a reign implacable order in the country, shook his fists as he could so that the pain will make him forget the urge to cry.
Lorin Maazel had just referred. The intensity of the applause that followed his remarks, and then the execution, brilliant, the work of composer reflected in Brooklyn. Something was currently happening in the context of the imposing marble theatre Stalinist architecture.
Emportés by their enthusiasm, most of the dignitaries of the regime, as the universal symbol of the New World Symphony of Antonin Dvorak had left impassive, no longer spared bravos: for the second movement of L'Arlesienne, Georges Bizet First of all, and especially for Arirang, which closed the evening. This theme traditional, very popular throughout the Korean Peninsula, has caused a disorder manifests. Not just in the room.
Few familiar with the protocols of the Western classical music and his rule reminders, the public good to subside believed at the time of the release of Lorin Maazel and Glen Dicterow, the concertmaster of the oldest American orchestra, which was founded in 1842. While some musicians were beginning to leave their desks, the orchestra found itself in a sort of unprecedented chaos when the repeated applause at the reappearance of the head. Many spectators up to shake their hands frantically in the direction of the scene.
"If representatives from other cultures with which we are currently experiencing tensions have a desire to get to know, so much the better. Worth accept it. It is a real challenge, confided shortly before the concert Lorin Maazel. In the arena of culture - I am a musician, not a politician - I am very conscious of the importance of relations between peoples. "
The invitation to come and play in Pyongyang arrived at the New York Philharmonic by fax in August 2007 in the form of a letter from the Ministry of Culture of the DPRK. She was immediately authenticated by the U.S. State Department, which provided advice and assistance on the terms of negotiation. Things picked up in October, after the visit to Pyongyang officials of the orchestra and the State Department.
As reported by the New York Times in its issue of December 10, the acceptance of the Philharmonic to play in North Korea was also subject to several conditions: the presence of foreign journalists, a television and radio broadcast national order not to limit Event to one privileged minority, acoustical adjustments, if necessary, in the theater hall in Pyongyang, and ensuring that all eight members of the orchestra of Korean origin does not meet any difficulties on the spot. Ultimate condition: that the orchestra can play The Star-Spangled Banner, the American anthem.
But it was first necessary to convince the members of the orchestra. Some questioned the appropriateness of a trip in one of the most repressive regimes whose ideological submit to the people of endemic poverty that would have resulted in the deaths of more than two million people on 25 million 'inhabitants in the country.
Christopher Hill, the main American diplomat in charge of negotiations with North Korea, had asked terms, remembers Rebecca Young (second alto). "We were told: you can refuse. Aware that by accepting, you may be able to change something." Robert Botti (oboe) had no hesitation: "This is a moment that music can transcend. Music can succeed where diplomacy has failed. This is a real exchange. It is my hope, our hope . It is for most of us a true privilege. "
All musicians have finally agreed to devote to the event, scheduled days off at the end of a tour that they came to perform in the region. For Adam Aron, who belongs to the group of 25 "bosses" of the New York philharmonic, "is a journey for peace. This is the first time that so many Americans went to Korea. Been remembered of the "ping-pong diplomacy." That is the same with the violin. "
Chose unthinkable until recently for the first time an American was ringing all its stamps at the very heart of one of the most closed countries in the world. A system-owned, and more importantly to the 'axis of evil', the group of countries honnis by American President George Bush.
On one side of the stage, the American flag on the other, that of North Korea: and had finally decided the protocol, the authorities in Pyongyang who first demanded the presence of their single banner. A simple sentence of American maestro was enough to trigger the breath of emotion, mâtinée pride, which has spread in the impressive gathering of dignitaries also stiff in their costumes that austere reluctant to delight. Prior to interpret An American in Paris, George Gershwin, the chief has made his voice raised these few words: "One day, perhaps, a composer would write in turn" Americans in Pyongyang. "
A sigh of unexpected bursts of mingled voices became widespread among 1500 spectators, men in grey and the few women in traditional long dresses. Visibly moved, a young part of the all-powerful Workers Party of Korea, which since 1948, a reign implacable order in the country, shook his fists as he could so that the pain will make him forget the urge to cry.
Lorin Maazel had just referred. The intensity of the applause that followed his remarks, and then the execution, brilliant, the work of composer reflected in Brooklyn. Something was currently happening in the context of the imposing marble theatre Stalinist architecture.
Emportés by their enthusiasm, most of the dignitaries of the regime, as the universal symbol of the New World Symphony of Antonin Dvorak had left impassive, no longer spared bravos: for the second movement of L'Arlesienne, Georges Bizet First of all, and especially for Arirang, which closed the evening. This theme traditional, very popular throughout the Korean Peninsula, has caused a disorder manifests. Not just in the room.
Few familiar with the protocols of the Western classical music and his rule reminders, the public good to subside believed at the time of the release of Lorin Maazel and Glen Dicterow, the concertmaster of the oldest American orchestra, which was founded in 1842. While some musicians were beginning to leave their desks, the orchestra found itself in a sort of unprecedented chaos when the repeated applause at the reappearance of the head. Many spectators up to shake their hands frantically in the direction of the scene.
"If representatives from other cultures with which we are currently experiencing tensions have a desire to get to know, so much the better. Worth accept it. It is a real challenge, confided shortly before the concert Lorin Maazel. In the arena of culture - I am a musician, not a politician - I am very conscious of the importance of relations between peoples. "
The invitation to come and play in Pyongyang arrived at the New York Philharmonic by fax in August 2007 in the form of a letter from the Ministry of Culture of the DPRK. She was immediately authenticated by the U.S. State Department, which provided advice and assistance on the terms of negotiation. Things picked up in October, after the visit to Pyongyang officials of the orchestra and the State Department.
As reported by the New York Times in its issue of December 10, the acceptance of the Philharmonic to play in North Korea was also subject to several conditions: the presence of foreign journalists, a television and radio broadcast national order not to limit Event to one privileged minority, acoustical adjustments, if necessary, in the theater hall in Pyongyang, and ensuring that all eight members of the orchestra of Korean origin does not meet any difficulties on the spot. Ultimate condition: that the orchestra can play The Star-Spangled Banner, the American anthem.
But it was first necessary to convince the members of the orchestra. Some questioned the appropriateness of a trip in one of the most repressive regimes whose ideological submit to the people of endemic poverty that would have resulted in the deaths of more than two million people on 25 million 'inhabitants in the country.
Christopher Hill, the main American diplomat in charge of negotiations with North Korea, had asked terms, remembers Rebecca Young (second alto). "We were told: you can refuse. Aware that by accepting, you may be able to change something." Robert Botti (oboe) had no hesitation: "This is a moment that music can transcend. Music can succeed where diplomacy has failed. This is a real exchange. It is my hope, our hope . It is for most of us a true privilege. "
All musicians have finally agreed to devote to the event, scheduled days off at the end of a tour that they came to perform in the region. For Adam Aron, who belongs to the group of 25 "bosses" of the New York philharmonic, "is a journey for peace. This is the first time that so many Americans went to Korea. Been remembered of the "ping-pong diplomacy." That is the same with the violin. "
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