Interview with Matthew Rowe

MR The synthesis of two languages: the language of music and the language of movement. I am fascinated by the way they interact. They seem to be connected, but in reality they are so different. Dance and music go hand in hand, but the way dancers and musicians hear and react to music is completely different. I love standing on the bridge between the two and helping to bring them together, but also experiencing what choreographers find in music and how they translate sounds into movement. We all know what it means to move and we all react to music. But it is a very special reaction when we see a master creating movement to music. The movement adds an extra dimension to the sound and the sound to the movement.

MR The stage is a very demanding, exposed and sometimes frightening place for dancers. They must have the opportunity and freedom to express themselves fully. My job is to provide them with the best possible environment and a sense of confidence. If everyone knows what to expect from the music, they can concentrate fully on the dancing. A ballet conductor must therefore know the needs of the stage very well and be able to react to what is happening at the right moment. That is why it is important to get to know the dancers in rehearsals, to be able to "read" them, to understand how they move and what their individual needs are. This work is like working with a soloist in an instrumental concert. I love the demands that conducting for dance places on me as a musician and conductor. You have to be flexible and open depending on the needs of the choreography and the dancers - but of course I also take on the role of the composer's advocate and the person responsible for the music.

MR The Petite Symphonie Concertante, written by Frank Martin in 1945 for piano, harpsichord, harp and two string groups, opens the program. The interplay of these three closely related solo instruments and the sophisticated use of the double string orchestra create a fascinating work. The Swiss composer combined various influences in his work: The inspiration of Johann Sebastian Bach stands alongside suggestions from Bulgarian and Indian rhythms, folk music, as well as elements of jazz and Schönberg's twelve-tone technique. The music for William Forsythe's In the Middle, Somewhat Elevated was written by Dutch composer Thom Willems, with whom Forsythe has worked for over 40 years. The work was created in 1987 and the music was composed especially for the choreography. Willems' electronic sound palette is a far cry from that of the orchestra, but the powerful, pulsating and highly rhythmic score links it closely to the works that frame it. Finally comes Brahms' Piano Quartet No. 1 in G minor in Arnold Schoenberg's orchestral version. This quartet from 1861 is one of Brahms' most captivating compositions, combining youthful exuberance with a masterful structure and thematic development.

MR Schönberg was a brilliant composer, but he was also a master of orchestration. Despite his groundbreaking innovations in compositional technique - including the invention of the twelve-tone technique - he had great respect for his predecessors, which is reflected in his arrangements and transcriptions of works by Bach, Busoni, Schubert and Mahler, among others. in 1937 he was invited by Otto Klemperer and the Los Angeles Philharmonic Orchestra to create a transcription of Brahms' 1st Piano Quartet. Klemperer and Schönberg knew each other from Vienna, but had both moved to California to escape the Nazi threat. Schönberg greatly admired the piano quartet and felt that it did not receive the attention it deserved: "It is always played very badly, because the better the pianist is, the louder he plays, and you hear nothing of the strings," he said and continued: "I wanted to hear everything once, and I have achieved that." With all due respect to the original composition, Schönberg drew on the instrumental color palette of the 20th century and created combinations that Brahms could only dream of in his time.

MR Brahms constructed the four movements of the quartet in a clear and beautiful architecture and laid them out in a largely "classical" form. However, he was also a master of the principle of developing variation, in which small motifs are used as building blocks for the creation and development of ideas. Each movement of the piano quartet is constructed according to this method and contains characteristic motivic cells that are subject to constant variation and development. These aspects (both macro and micro) open up numerous possibilities for the choreography. The large-scale groupings and patterns on stage reflect the overall structure of the music, while the continuous development and variation provide endless possibilities for variety and innovation. In addition, the orchestral version of the score is resplendent in color and light. The Brahms-Schönberg combination results in music that is bursting with contrasting ideas, moods and images. There are moments of great power and majesty, moments of high energy and excitement, but also moments of extraordinary sweetness, intimacy and tender dialog. And last but not least, there are breathtakingly beautiful melodies. So it is easy to understand why the work was such an irresistible inspiration for a choreographer of Balanchine's musicality and genius.

MR I feel very connected to all three choreographers because they all have a very musical approach. All three of them create works that are inspired by the music they choose. With all of them, I can see the music in the movements they create. I had the extraordinary privilege of working closely with Hans van Manen for almost 20 years, conducting many of his ballets, getting to know him and watching him work. He is an inspiring personality and even at 91 he is still full of energy and passion for dance - a truly remarkable person. William Forsythe only occasionally uses live music. But recently I had the pleasure of working with him on his Vertiginous Thrill of Exactitude, a breathtaking ballet to the finale of Schubert's 9th Symphony. It was wonderful to discuss details of the score with him and watch him work with the dancers to help them understand the intimate relationship between the music and the movements. It was crucial for him that the steps were extremely accurate to the music - despite its great speed and complexity! Last but not least, I have had the good fortune to conduct many Balanchine ballets during my career. This is always a great pleasure and rewarding experience, as Balanchine chose such a wonderful repertoire and choreographed it in a way that shows a deep understanding of the music. I only wish I could have met him in person!