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as an excuse to build new coal mines. he was speaking at a un climate change summit where delegates are seeking ways of reducing carbon dioxide emissions. now on bbc news, it s hardtalk. welcome to hardtalk. i m stephen sackur. much of the world is now transitioning from locking down to living with covid 19, and that means that, in cities like london, cultural life is returning, performers are back on stage, audiences can gather to enjoy them. my guest today is the world renowned hungarian conductor and composer, ivan fischer, known for his innovative style. it has been a tough couple of years, so how easy is it to find the magic in music making? ivan fischer, welcome to hardtalk. lovely to be here. it s great to have you here in london. let me ask you how different has it been making music in the time of covid? covid had positive and negative effects on our life. the problem was that there is no audience and actually we make music for people. this is actually easy fo ....
world renowned hungarian conductor and composer ivan fischer, known for his innovative style. it has been a tough couple of years, so how easy is it to find the magic in music making? ivan fischer, welcome to hardtalk. lovely to be here. it s great to have you here in london. let me ask you, how different has it been making music in the time of covid? covid had positive and negative effects on our life. the problem was that there is no audience and actually we make music for people. this is actually easy for musicians to forget. some musicians make music to impress other musicians, and we always, i remind them, we play for the audiences, we play for the listeners. and this is what we didn t have. that was terrible. now the good thing is that, actually, it made us realise how badly we need the audiences. i think there is a streaming tiredness in the world now. because for many months after covid hit hungary, hit europe, hit the world, you created a new way of performin ....
Because we have three movements with an orchestra playing, in the last movement, people start to sing. it s a revolution. now, in our normal ritual, it s not a revolution, because what do you see? you see an orchestra and you see a chorus waiting there for their entry. where is the unpredictability? where is the surprise? so, i think sometimes the ritual doesn t fit the original composition. so, i try to find ways to give a possibility for the unpredictable nature of music. so, what i did in beethoven s ninth symphony, i hid the chorus in the audiences. nobody saw the choir, where are they? and suddenly, theyjumped up from the hall. maybe it s next to you there is a tenor, or here s a soprano and theyjump up. and then people had the feeling, it s us, it s we, the people, ....
Up from the hall. maybe it s next to you there is a tenor, or here s a soprano and theyjump up. and then people had the feeling, it s us, it s we, the people, who start to sing. and for me, it was a revelation much, much more than in the conventional ritual. that story sums up a lot of what you try to do, because it seems you re trying to find a route back to the fun, to the playfulness. i mean, musicians play music, you want them to be playful in a very literal sense. i think music itself is playful, i agree completely. we use this wonderful word, play for making music. it s great, isn t it? is it, though, at the moment, when you look across the genre of classical music and the great concert halls, and you re going to be playing on the south bank here in london, in one of the great halls ....
The original composition. so, i try to find ways to give a possibility for the unpredictable nature of music. so, what i did in beethoven s ninth symphony, i hid the chorus in the audiences. nobody saw the choir, where are they? and suddenly theyjumped up from the hall. maybe it s next to you there is a tenor, or here s a soprano and theyjump up. and then people had the feeling, it s us, it s we, the people, who start to sing. and for me, it was a revelation much, much more than in the conventional ritual. that that story sums up a lot of what you try to do, because it seems you you re trying to find a route back to the fun, to the playfulness. i mean, musicians play music, you want them to be playful in a very literal sense. i think music itself is playful, i agree completely. we use this wonderful word, play for making music. it s great, isn t it? is it though, at the moment, when you look across the genre of classical music and the great concert halls, and you re going to be p ....