News
8. January 2020.
Aleksey Igudesman on Beethoven: “Ode to Joy Survived the Nazis so It Will also Survive Brexit”
Branimir Pofuk, journalist of the Večernji list daily newspaper, talked to the musician, whose musical parodies make the whole world laugh and dispel the fear of classical music as elitist art only for the chosen ones among the less informed audiences. Together with Hyung-ki Joo, he will perform a special programme dedicated to the great Beethoven at Lisinski Hall on 15 November 2020.
The year, in which the world is celebrating Ludwig van Beethoven’s 250th birthday, has begun. This is why Vienna Beethoven 2020 put an additional emphasis on its status as the world's music capital. Aleksey Igudesman, virtuoso violinist, composer, conductor, entrepreneur and comedian, is the impresario and one of the ambassadors of this project. The whole world laughs at his musical parodies, which dispel the fear of classical music as elitist art only for the chosen ones among the less informed audiences. The Croatian audience met and came to love Igudesman, when he and Korean pianist Hyung-ki Joo, his permanent artistic associate and participant in comedies, were an indispensable part of the Julian Rachlin & Friends Festival in Dubrovnik. We conducted the interview as ping-pong correspondence between Zagreb and Belgrade, where Igudesman staged another of his hilarious shows with the Belgrade Philharmonic Orchestra, exactly on the topic of Beethoven. The first question that I sent him was the code of Beethoven's most famous motif and I immediately received the reply that sheds new light on the blows of fate, which Ludwig’s Fifth Symphony starts with.
Ta-ta-ta-taaa?
Actually, technically it’s “Ba-na-na-naaa”, which also happens to be Beethoven’s favourite fruit! For the Beethoven year, and as part of a commission for the Oslo Philharmonic Orchestra, I took Ludwig’s most famous motif from his 5th Symphony and changed it to fit an odd metre of 5 beats per bar. On top of that, I turned it into funk, Mexican music, jazz, Latin, swing and procured all sorts of other abominations on top. Highly unconventional, but always recognizable, this piece proves how much fun one can have and how far one can go if the original material is as great as it is in the Banananaaa piece. Take a bite, and off you go!
Actually, technically it’s “Ba-na-na-naaa”, which also happens to be Beethoven’s favourite fruit! For the Beethoven year, and as part of a commission for the Oslo Philharmonic Orchestra, I took Ludwig’s most famous motif from his 5th Symphony and changed it to fit an odd metre of 5 beats per bar. On top of that, I turned it into funk, Mexican music, jazz, Latin, swing and procured all sorts of other abominations on top. Highly unconventional, but always recognizable, this piece proves how much fun one can have and how far one can go if the original material is as great as it is in the Banananaaa piece. Take a bite, and off you go!
What other Beethoven themes inspire you?
In the new Igudesman & Joo programme “Beethoven’s Nightmare”, which will have its premiere in Oslo on the 7th of January 2020, the closing work will be “Joyful Variations”. I use Beethoven’s iconic theme Ode to Joy from the last movement of the 9th Symphony and take it on a travel around the world, embracing a myriad of different cultures. The piece travels through 9 different regions of the world with a focus on Samba from Brazil, Salsa from Cuba, Columbia and Venezuela, music from the Far East, such as China, Korea and Japan, classical and Bollywood music from India and Pakistan, Celtic music from Ireland, Scotland, France and Spain, African music from Senegal, Ghana, South Africa and Cameroon, Gypsy music from Spain, Eastern Europe and Argentina, Middle Eastern music from Egypt and Turkey and Blues, Rock, Funk and Big Band from North America.
In the new Igudesman & Joo programme “Beethoven’s Nightmare”, which will have its premiere in Oslo on the 7th of January 2020, the closing work will be “Joyful Variations”. I use Beethoven’s iconic theme Ode to Joy from the last movement of the 9th Symphony and take it on a travel around the world, embracing a myriad of different cultures. The piece travels through 9 different regions of the world with a focus on Samba from Brazil, Salsa from Cuba, Columbia and Venezuela, music from the Far East, such as China, Korea and Japan, classical and Bollywood music from India and Pakistan, Celtic music from Ireland, Scotland, France and Spain, African music from Senegal, Ghana, South Africa and Cameroon, Gypsy music from Spain, Eastern Europe and Argentina, Middle Eastern music from Egypt and Turkey and Blues, Rock, Funk and Big Band from North America.
So, you are having a lot of fun with the EU anthem...
I try to tell the story of Beethoven's strong belief in artistic and personal freedom. And his belief that we are all brothers and sisters. The cultural differences are explored partially through regional scales and to a large extent through traditional rhythms and grooves, as well as a vast amount of fun, joy and theatricality.
I try to tell the story of Beethoven's strong belief in artistic and personal freedom. And his belief that we are all brothers and sisters. The cultural differences are explored partially through regional scales and to a large extent through traditional rhythms and grooves, as well as a vast amount of fun, joy and theatricality.
Have you thought about how Brexit will affect the Ode to Joy?
Brexit won’t affect the Ode to Joy. It survived all sorts of nasty people misusing it in a myriad of ways, including the Nazis. The work stands for personal freedom, individualism and at the same time the brotherhood/sisterhood of mankind. However, I did have some “fun” with the theme of Brexit in another composition of mine. Commissioned by the great viola player Lawrence Power, I wrote the “Brexit Polka” for viola solo. It is published in my “Violamania” book on Universal Edition – a book of 11 pieces for solo viola. In it, I used the motifs of the national anthems of all EU member states, including Croatia. Incidentally, another piece from the “Violamania” book I am rather proud of is a commission for Antoine Tamestit called “Passacaglia”.
Brexit won’t affect the Ode to Joy. It survived all sorts of nasty people misusing it in a myriad of ways, including the Nazis. The work stands for personal freedom, individualism and at the same time the brotherhood/sisterhood of mankind. However, I did have some “fun” with the theme of Brexit in another composition of mine. Commissioned by the great viola player Lawrence Power, I wrote the “Brexit Polka” for viola solo. It is published in my “Violamania” book on Universal Edition – a book of 11 pieces for solo viola. In it, I used the motifs of the national anthems of all EU member states, including Croatia. Incidentally, another piece from the “Violamania” book I am rather proud of is a commission for Antoine Tamestit called “Passacaglia”.
What about the piece “For Elise”? And just who was this Elise?
Well, apparently Beethoven did not write “For Elise” actually for Elise, but for someone with exactly the same name! Amazing, isn’t it? I have re-invented the tune in two ways. First of all in a piece called “For A Lease”. “For Elise” is one of Beethoven’s most-known pieces. “For A Lease” is not. Or not yet. Let’s be honest: the original, with all the respect we have for Beethoven, is not the most invigorating piece of music and is harmonically borderline kitsch at times. I tried to remove some of the kitsch and make it more emotional and intimate in parts, while epic in others. Upon completion of “For A Lease”, I collaborated with the Viennese electronic music artist Dandario to create a truly 21st century version of “For Elise”. The title “Foreign Lisa” accentuates the fact that foreign elements like synthesizers are used in this reinvention. Also Beethoven himself was a foreigner coming to Vienna at the age of 22 and disrupting the music scene with musical elements never heard before. Dandario took the elements that I recorded together with Julian Rachlin and remixed them, adding electronic music. I then recorded additional tracks and new elements on top, which Dandario remixed one more time. After that, I re-orchestrated the whole work one more time to add live symphonic elements. As complicated as the process sounds, the result turned out to be pretty cool, I think!
Well, apparently Beethoven did not write “For Elise” actually for Elise, but for someone with exactly the same name! Amazing, isn’t it? I have re-invented the tune in two ways. First of all in a piece called “For A Lease”. “For Elise” is one of Beethoven’s most-known pieces. “For A Lease” is not. Or not yet. Let’s be honest: the original, with all the respect we have for Beethoven, is not the most invigorating piece of music and is harmonically borderline kitsch at times. I tried to remove some of the kitsch and make it more emotional and intimate in parts, while epic in others. Upon completion of “For A Lease”, I collaborated with the Viennese electronic music artist Dandario to create a truly 21st century version of “For Elise”. The title “Foreign Lisa” accentuates the fact that foreign elements like synthesizers are used in this reinvention. Also Beethoven himself was a foreigner coming to Vienna at the age of 22 and disrupting the music scene with musical elements never heard before. Dandario took the elements that I recorded together with Julian Rachlin and remixed them, adding electronic music. I then recorded additional tracks and new elements on top, which Dandario remixed one more time. After that, I re-orchestrated the whole work one more time to add live symphonic elements. As complicated as the process sounds, the result turned out to be pretty cool, I think!
Vienna gave you a special role in 2020...
I was asked by the City of Vienna to be the Impresario for the Vienna 2020: Capital of Music. For that I was part of 10 events around the world, where I played and spoke in front of an international audience and press about Vienna and its place in the past and in the future. One important aspect of it was how Vienna is still so current and not a city of yesterday. Despite, or because of its rich, diverse history of music, literature and art in the past, Vienna is the city of today and tomorrow. It is the capital of music in more ways than we can imagine. It gives us musicians, writers, composers, artists the freedom to dream, the space to create, to love, to be ourselves. And it all starts with education.
I was asked by the City of Vienna to be the Impresario for the Vienna 2020: Capital of Music. For that I was part of 10 events around the world, where I played and spoke in front of an international audience and press about Vienna and its place in the past and in the future. One important aspect of it was how Vienna is still so current and not a city of yesterday. Despite, or because of its rich, diverse history of music, literature and art in the past, Vienna is the city of today and tomorrow. It is the capital of music in more ways than we can imagine. It gives us musicians, writers, composers, artists the freedom to dream, the space to create, to love, to be ourselves. And it all starts with education.
Just like Beethoven, you also got to Vienna as a foreigner and stayed there. Do you think about what people will remember you for in 200 years? Are you trying to compose a melody that people will be whistling and humming then, as well?
To consider what I will be remembered for would be rather vain and impossible to predict. But what the hell, why not try? In Uruguay, people will probably be whistling my song about that country for many years to come. I also believe that my “Other Seasons” have the potential to be popular among future generations. Clearly inspired by Vivaldi, I wanted to have my own take on the idea of portraying the 4 seasons. My approach was a slightly more culinary and philosophical one. The whole title is „4 Seasons – 12 Reasons and 24 Seasonings 4 Seasons – 12 Reasons and 24 Seasonings“. The fundamental question for me, as for all humanity, is what the reason is for doing what we do. Many philosophers have had their own theories and plenty of religions try to give us explanations, whether satisfactory or not. My own personal and certainly easily adaptable reason is: creativity. The theme of creativity is the thread through all of our lives. Not wanting to go into too much detail, all the reasons I am giving you here are creative rather than rational. Sometimes even seemingly banal. Yet I believe that banal is not to be dissed so easily as long as we infuse it with our very own creative DNA.
To consider what I will be remembered for would be rather vain and impossible to predict. But what the hell, why not try? In Uruguay, people will probably be whistling my song about that country for many years to come. I also believe that my “Other Seasons” have the potential to be popular among future generations. Clearly inspired by Vivaldi, I wanted to have my own take on the idea of portraying the 4 seasons. My approach was a slightly more culinary and philosophical one. The whole title is „4 Seasons – 12 Reasons and 24 Seasonings 4 Seasons – 12 Reasons and 24 Seasonings“. The fundamental question for me, as for all humanity, is what the reason is for doing what we do. Many philosophers have had their own theories and plenty of religions try to give us explanations, whether satisfactory or not. My own personal and certainly easily adaptable reason is: creativity. The theme of creativity is the thread through all of our lives. Not wanting to go into too much detail, all the reasons I am giving you here are creative rather than rational. Sometimes even seemingly banal. Yet I believe that banal is not to be dissed so easily as long as we infuse it with our very own creative DNA.
What role has Beethoven played in your life, your growing up as a musician, man and human being?
To be honest, I feel connected to him. Mentally, spiritually, and even morally, whatever that may mean. I would even go so far as to claim that we are spiritually related. And as he is a spirit now, I would like to adopt him as my father, since he did not have children of his own. I don’t know whether this is funny or sad, but Beethoven and my actual father were alcoholics, and they both died at the age of 56. A coincidence? Maybe. Maybe not.
To be honest, I feel connected to him. Mentally, spiritually, and even morally, whatever that may mean. I would even go so far as to claim that we are spiritually related. And as he is a spirit now, I would like to adopt him as my father, since he did not have children of his own. I don’t know whether this is funny or sad, but Beethoven and my actual father were alcoholics, and they both died at the age of 56. A coincidence? Maybe. Maybe not.
Which part of Beethoven's personality do you like the most and in which points can you easily identify with Beethoven's genius?
We need Beethoven’s spirit more than ever. We need his love for individualism, his belief in humanity, his conviction that we are all brothers and sisters. I believe that one can hear that extremely clearly in all of his music. And I can identify with that a lot.
We need Beethoven’s spirit more than ever. We need his love for individualism, his belief in humanity, his conviction that we are all brothers and sisters. I believe that one can hear that extremely clearly in all of his music. And I can identify with that a lot.
There are rumours that he was a difficult man without much sense of humour. True or not?
I am quite convinced that this cannot be the case. You can hear an incredible amount of humour in his music. He was a strong personality. He would get angry and frustrated. Like my own dad – another parallel. But my father was also one of the most humorous men alive. For decades, Beethoven struggled with the fact that he was going deaf. I do believe that this internal struggle made him furious with the world at times. But I know he had the kindest of hearts. Yet again much like my own father.
Beethoven was a man very much aware of and engaged in the politics of his time; for example, he first admired and then despised Napoleon. Can you imagine him in today's Europe? Do you see a person who could deserve to have a work like Beethoven's Eroica dedicated to him or her today?
Boris Johnson? Just kidding. One thing is for sure: he would be appalled at the thought of Brexit. Beethoven was actually contemplating moving to London. But Vienna loved him so much that some wealthy people put money together to pay him to stay. I don’t think that Beethoven would move to a London that wanted to leave a union that enabled peace in Europe for 75 years. Angela Merkel may be a contender for a dedication from Ludwig. Or maybe Walter Hallstein, one of the founding fathers of the EU. Or perhaps it should be Francois Mitterrand.
Boris Johnson? Just kidding. One thing is for sure: he would be appalled at the thought of Brexit. Beethoven was actually contemplating moving to London. But Vienna loved him so much that some wealthy people put money together to pay him to stay. I don’t think that Beethoven would move to a London that wanted to leave a union that enabled peace in Europe for 75 years. Angela Merkel may be a contender for a dedication from Ludwig. Or maybe Walter Hallstein, one of the founding fathers of the EU. Or perhaps it should be Francois Mitterrand.
Another name for classical music, at least in Croatian, is "serious music". Are the musical comedies that you do unserious?
Well, essentially I am a serious classical musician and I love music passionately. I never make fun of classical music - I have fun with classical music. That is a big difference. Music always comes first. When I was studying at the Yehudi Menuhin School in England, I felt that the world of classical music was taking itself way too seriously. Going to a concert often resembled a funeral rather than being a celebration of life. While a lot of music is serious and tragic, the whole ceremony surrounding classical music need not be so serious and elitist. We always wanted to change this. Any parent or kid who might be terrified of classical music will never be scared again after coming to one of our shows. I seriously don’t differentiate between serious and less serious parts. I treat the humour with a lot of seriousness and the serious parts should always be fun. But I always have parts of my performances that are purely beautiful and touching music. And I often write “serious” sounding music like “Lento”, recorded by Daniel Hope on Deutsche Grammophon.
You can read the whole interview in Croatian HERE.