Toptallent Elschenbroich over Dvoráks Celloconcert

Eind oktober maakte hij een droomdebuut bij het Residentie Orkest. Op 15 en 17 december keert Leonard Elschenbroich terug naar Den Haag als vervanger van Harriet Krijgh in Dvoráks Celloconcert. Hij beantwoordde alvast enkele vragen voorafgaand aan dit concert.

You just had your debut with the Residentie Orkest in October. Did you enjoy working with the orchestra?

The orchestra has a very engaging and genuine way of playing. I loved playing the Kabalevsky and was deeply moved by the Shostakovich Symphony. I have played with Nick Collon quite a bit and could sense that he and the orchestra have a great rapport.

In December you will play Dvoraks Cello Concerto. What do you think of this famous Concerto?

There seems to have been a convergence of developments in Dvorak’s life – emotional and artistic – right around the time he wrote this concerto. It has within it, such an organic, pulsating direction, and it is formally very open and spacious yet all within a strong arc. I think it allows the listener a lot of space to engage, to enter into it, and travel through a breadth of emotions and images. Only few pieces are so full of inspiration. It always feels fresh and new and relevant and relatable. It speaks so openly and with such vulnerability.

What’s been your most memorable live music experience as an audience member or as a soloist?

As an audience member: Christoph Eschenbach conducting Brahms 3 in Chicago was unforgettable. The musicians really transcended the interpretative and performance reality into something beyond. The lines between composer, performer, listener blurred and we all became part of the same alchemy.

What do you listen in your car when you’re driving?

I still don’t have a driver’s license! But when I travel, I tend to listen to contemporary music or non-classical music (Trap, these days). Otherwise I find my interpreter’s ear gets in the way. With contemporary music, I can focus more on the composition. I often listen to Morton Feldman, for example, where interpretation is very much in the background.

Wilt u zelf horen hoe Elschenbroich dit fantastische werk voor de cello speelt? Zowel voor zondagmiddag als vrijdagavond zijn nog kaarten beschikbaar. Bekijk de concerten hieronder.