war. then i d show beethoven s its which means monster. is about fighting against the tyrants. since the invasion on februarr has bathed itself and the colors of ukraine s flag. it was our way of saying we are watching. we know, we care, we are supporting you progress ukraine s ambassador thanked the american people. and this time of tierney dictatorship and total fossil propaganda everyone in our global orchestra should feel like an essential instrument making an important and influential sound. god bless america,. [applause] each night the orchestra ends up playing ukraine s national anthem.
war. then i d show beethoven s its which means monster. is about fighting against the tyrants. since the invasion on februarr has bathed itself and the colors of ukraine s flag. it was our way of saying we are watching. we know, we care, we are supporting you progress ukraine s ambassador thanked the american people. and this time of tierney dictatorship and total fossil propaganda everyone in our global orchestra should feel like an essential instrument making an important and influential sound. god bless america,. [applause] each night the orchestra ends up playing ukraine s national anthem.
and the danger is that orchestras play a limited repertoire the last maybe 200 years, the music of the last 200 years. now, what will happen in 500 years, will we still listen to those 200 years? i don t think so. don t you, really? no, i think we have to reform. the idea that you mentioned earlier, playing beethoven s ninth, i mean, to take that as just one of the best known pieces of music in the world, everybody really thinks of it as completely timeless, that as long as there is human civilisation, there will be beethoven, there will be bach, there will be mozart. are you saying maybe we re wrong? if you sit in your car and you open the radio, what do you hear? you hear a bit of beethoven, you hear a bit of bruckner, and you hear heavy metal and you hear indian ragas and you hear rap songs. it s a mix. this is our language today,
a little less formal, because you ve talked about the dangers of the form becoming too tied to frozen rituals and to an older audience. and ijust wonder whether in the course of your career you believe you ve been able to change that a little bit. the works we perform, they are sometimes much more exciting than they seem in this ritual, what you said. for example, if i may take an example, beethoven s choral symphony, which everybody knows. when beethoven composed it, he probably thought that the last movement, when the human voice enters a symphony, it s a great surprise,
really? yes, because they must reform, they must go with the age, they must recognise what the new generations need. and the danger is that orchestras play a limited repertoire the last maybe 200 years, the music of the last 200 years. now what will happen in 500 years, will we still listen to those 200 years? i don t think so. don t you, really? no, i think we have to reform. the idea that you mentioned earlier, playing beethoven s ninth, i mean, to take that as just one of the best known pieces of music in the world, everybody really thinks of it as completely timeless, that as long as there is human civilisation, there will be beethoven, there will be bach, there will be mozart. are you saying maybe we re wrong? if you sit in your car and you open the radio,