This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at https://www.theguardian.com/politics/2017/mar/19/vladimir-ashkenazy-brexit-musicians-keep-britain-in-tune

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Musicians must keep Britain in tune with EU after Brexit, says Ashkenazy Musicians must keep Britain in tune with EU after Brexit, says Ashkenazy
(2 days later)
Vladimir Ashkenazy, one of the most revered figures in classical music, has called on musicians to strive to keep up British links with Europe in the face of Brexit. The great Russian conductor and pianist, who made his name as a soloist in the 1960s and 70s, spoke passionately to the Observer about his continued faith in European culture.Vladimir Ashkenazy, one of the most revered figures in classical music, has called on musicians to strive to keep up British links with Europe in the face of Brexit. The great Russian conductor and pianist, who made his name as a soloist in the 1960s and 70s, spoke passionately to the Observer about his continued faith in European culture.
“Music will win in the end,” he said, speaking publicly on the subject for the first time. “After all, music is not just an exercise in making sounds. It is a reflection of our joint spiritual endeavours.”“Music will win in the end,” he said, speaking publicly on the subject for the first time. “After all, music is not just an exercise in making sounds. It is a reflection of our joint spiritual endeavours.”
Comparing Britain’s impending split with Europe to other political schisms of the 20th century, such as the rise of fascism and the cold war, Ashkenazy, 79, said he was optimistic that those who love making music together will find a way to keep connections going across the Channel. “I am sorry about it, and I know it will be difficult to get used to a totally different situation, but for musicians many things will remain the same, simply because we will work to find a way to make agreements for the sake of music,” he said.Comparing Britain’s impending split with Europe to other political schisms of the 20th century, such as the rise of fascism and the cold war, Ashkenazy, 79, said he was optimistic that those who love making music together will find a way to keep connections going across the Channel. “I am sorry about it, and I know it will be difficult to get used to a totally different situation, but for musicians many things will remain the same, simply because we will work to find a way to make agreements for the sake of music,” he said.
Many British classical musicians expect Brexit to set up new travel barriers and present fresh difficulties for orchestras receiving EU funding. The potential threat to free travel for working musicians has already prompted the European Union Baroque Orchestra to announce a move to Belgium this summer. It has been based in Oxfordshire since 1985. Meanwhile, the well-regarded European Union Youth Orchestra (EUYO) is considering a move to the continent after 40 years in Britain.Many British classical musicians expect Brexit to set up new travel barriers and present fresh difficulties for orchestras receiving EU funding. The potential threat to free travel for working musicians has already prompted the European Union Baroque Orchestra to announce a move to Belgium this summer. It has been based in Oxfordshire since 1985. Meanwhile, the well-regarded European Union Youth Orchestra (EUYO) is considering a move to the continent after 40 years in Britain.
Speaking ahead of his concert at London’s Royal Festival Hall, Ashkenazy said the loss of a flow of British talent into the EUYO, an orchestra for which he was music director, would be keenly felt.Speaking ahead of his concert at London’s Royal Festival Hall, Ashkenazy said the loss of a flow of British talent into the EUYO, an orchestra for which he was music director, would be keenly felt.
“I am not saying it is a disaster they would not survive. But it would be a great loss,” he said. “There are so many wonderful young musicians in this country, it is debatable if they will be able to replace them easily. In Germany classical music is, of course, incredibly strong traditionally. But it has become much stronger here in Britain, with a very high level of musicians who are, perhaps, more open to all sorts of new endeavours.”“I am not saying it is a disaster they would not survive. But it would be a great loss,” he said. “There are so many wonderful young musicians in this country, it is debatable if they will be able to replace them easily. In Germany classical music is, of course, incredibly strong traditionally. But it has become much stronger here in Britain, with a very high level of musicians who are, perhaps, more open to all sorts of new endeavours.”
The maestro, who was born in Gorky (now Nizhny Novgorod) and who defected from Russia in 1963, said he believed music was a powerful way to exchange perspectives, and that when he first came to Europe he embraced western ideals by playing the music of its great composers. “Once I arrived, I knew that now I could find out about the whole of the world,” he said. “Under the Soviets, all the information was doctored from the top. It is better now, although there is room for improvement.”The maestro, who was born in Gorky (now Nizhny Novgorod) and who defected from Russia in 1963, said he believed music was a powerful way to exchange perspectives, and that when he first came to Europe he embraced western ideals by playing the music of its great composers. “Once I arrived, I knew that now I could find out about the whole of the world,” he said. “Under the Soviets, all the information was doctored from the top. It is better now, although there is room for improvement.”
Ashkenazy, who lives in Switzerland, added that a general respect for mankind and a belief in “equality among humans and between the sexes” had historically been important in western Europe, as well as in America, New Zealand and Australia, and that he had faith it would remain so.Ashkenazy, who lives in Switzerland, added that a general respect for mankind and a belief in “equality among humans and between the sexes” had historically been important in western Europe, as well as in America, New Zealand and Australia, and that he had faith it would remain so.
“Brexit seems quite small compared to the changes you once saw in communist countries,” he said. “There, normal people were seen as just crowds, and it was only those at the top that mattered.”“Brexit seems quite small compared to the changes you once saw in communist countries,” he said. “There, normal people were seen as just crowds, and it was only those at the top that mattered.”
The chance to play the piano music of the great European composers had been a way for him to learn a new culture, the conductor said. “When I played, and when I conduct now, I always consider the mentality of the different composers. I have never just thought, ‘I am Russian, so that is how I do it’. I didn’t want to play the music of Bach or Schubert like Russian music. I learned a lot about life, not just by playing the pieces, but by thinking about who all these composers were and about what they went through. What did they want to say? And what was their life like?”The chance to play the piano music of the great European composers had been a way for him to learn a new culture, the conductor said. “When I played, and when I conduct now, I always consider the mentality of the different composers. I have never just thought, ‘I am Russian, so that is how I do it’. I didn’t want to play the music of Bach or Schubert like Russian music. I learned a lot about life, not just by playing the pieces, but by thinking about who all these composers were and about what they went through. What did they want to say? And what was their life like?”
The musician, who began playing the piano at six and trained at the Moscow Conservatory, said he was not in favour of making political predictions about Europe. He believes, he said, that they are dangerous. “And if you read history, there are almost no instances where predictions have proved correct. After all, who would ever have thought such things would have happened in Germany in the 1930s and 40s?”The musician, who began playing the piano at six and trained at the Moscow Conservatory, said he was not in favour of making political predictions about Europe. He believes, he said, that they are dangerous. “And if you read history, there are almost no instances where predictions have proved correct. After all, who would ever have thought such things would have happened in Germany in the 1930s and 40s?”
The significant point for musicians, Ashkenazy said, is that music brings people together: “That is not music’s job, but it happens.”The significant point for musicians, Ashkenazy said, is that music brings people together: “That is not music’s job, but it happens.”
AN ARTIST’S LIFEAN ARTIST’S LIFE
Born 6 July 1937 in Gorky, Soviet Union (now Nizhny Novgorod, Russia).Born 6 July 1937 in Gorky, Soviet Union (now Nizhny Novgorod, Russia).
Education Moscow Conservatory.Education Moscow Conservatory.
Career Gained a reputation for his performances of Romantic and Russian composers. Among his notable recordings are the complete 24 Preludes and Fugues by Dmitri Shostakovich and Robert Schumann’s entire works for piano. He has also performed piano concertos by Mozart, Beethoven, Bartók and Prokofiev.Career Gained a reputation for his performances of Romantic and Russian composers. Among his notable recordings are the complete 24 Preludes and Fugues by Dmitri Shostakovich and Robert Schumann’s entire works for piano. He has also performed piano concertos by Mozart, Beethoven, Bartók and Prokofiev.
Midway through his career he switched to conducting. In 1981, he was appointed guest conductor of the London Philharmonic Orchestra. He later became chief conductor of the Czech Philharmonic (between 1998 and 2003), and music director of the NHK Symphony Orchestra in Tokyo (between 2004 and 2007). From 2009 to 2013, he served as principal conductor and artistic adviser to the Sydney Symphony Orchestra. Midway through his career he switched to conducting. In 1981, he was appointed guest conductor of the Philharmonia Orchestra. He later became chief conductor of the Czech Philharmonic (between 1998 and 2003), and music director of the NHK Symphony Orchestra in Tokyo (between 2004 and 2007). From 2009 to 2013, he served as principal conductor and artistic adviser to the Sydney Symphony Orchestra.
This article was amended on 20 March 2017. Vladimir Askenazy was appointed guest conductor of the Philharmonia in 1981, not the London Philharmonic Orchestra.