Interview with conductor Daniel Raiskin
...which was prepared some time in advance. When the conductor had not replied after three weeks, I started to have doubts as to whether he ever would send answers to my questions. However, when they came, I had to make a silent apology to Daniel Raiskin, who had indeed taken some time, but only in order to provide precise replies on every subject. I hope you also appreciate the absorbing information about European cultural institutes, and the rather surprising recollections of supporting Czech ice hockey.
You were born in Russia. How often do you return there now, as a conductor?
Though I was born and grew up in Russia, more than twenty years now I live abroad, first in the Netherlands now in Germany. Nevertheless I do visit my home country regularly and have performed with St. Petersburg Philharmonic Orchestra as well as with Yekaterinburg Philharmonic Orchestra, where I have served as Principle Guest Conductor between 2003-2005. Yekaterinburg, Russia’s third largest city of a rich cultural heritage is home to one of the most vibrant philharmonics in this country and to one of the very best symphony orchestras!
Where do you feel at home today?
I am very often on the road as travelling is something conductors do a lot! Therefore I have learned to feel at home there, where I live now. And at present it is Koblenz, situated just where Rhein and Mosel meet. A unique place amongst the wine slopes in the heart of German romantic tradition.
Can you tell us something about the orchestra you are based with, the Staatsorchester Rheinische Philharmonie? Who runs it, how many members does it have, what kind of concerts does it put on?
Staatsorchester Rheinische Philharmonie is one of the three federal orchestras of the Land Rheinland-Pfalz and is one of the oldest and most traditional orchestras in Germany, having celebrated its 350th birthday some 5 years ago. The orchestra is a full size symphony orchestra with some 78 musicians and has a very broad scope of artistic activities. Our main subscription series is co-organized by a so-called Musik Institut Koblenz, one of the oldest societies of music lovers in German speaking countries – they have celebrated their 200th birthday in 2008. These symphony concerts are held at Rhein-Mosel Halle, a concert venue of about 1.500 seats. Rhein-Mosel Halle has been recently closed for renovation and refurbishment for some 26 million euros and will be opened again in fall 2011. - Apart from these concerts we host many other concert series with the orchestra size varying from full symphony to chamber orchestra size. We are very active in the field of children and family concerts, special projects for youth; we have our own chamber music concert series where the orchestra musicians can present programs in various ensembles during the season. - Apart from that we are serving as opera house orchestra for the Koblenz Theater, where every year we perform during 5-6 productions. The theater in Koblenz is the only originally surviving classical theater on Rhein and was built in 1776.
You’ve been working with this orchestra since 2005. What visions did you have for the post when you became principal conductor? Has it been possible to realize them?
I have inherited the post of the Music Director in Koblenz in the difficult times, shortly after the sway of political and financial reforms have left a bleeding scar on the bodies of all the state orchestras in Rheinland-Pfalz. My most important wish was to create a very clear, own profile for the orchestra of such great tradition. This meant a very clear repertoire policy, intensive rehearsal process and most of all a common vision which I have tried to inflect on the orchestra musicians. Now, 6 years later I can proudly tell that we have achieved much of our goals and are still working hard in propelling orchestra further. The orchestra has become younger, has broadened its repertoire, has been touring extensively and performing at some of Europe’s most prestigious venues: Concertgebouw Amsterdam, Festspiel Haus Salzburg, Queen Elisabeth Hall in Antwerp, Sala Verdi Milano, Tonhalle Zürich to name a few. We have recorded many CD’s with very interesting repertoire, including Antonin Dvorak’s 1st Cello Concerto A-Major! Most important, in my view, is the fact that the orchestra has found its own distinct color and sound character. I am reluctant to speak about the “Koblenz Sound”, but would certainly acknowledge the fact that something very special is going on there!
When did you decide to exchange the viola for the baton? Were you inspired by anyone in particular?
It is a bit different in my case. I have started my conducting at age 15 in parallel to my viola studies. It was my first conducting teacher, Prof. Lev Savich, who has infected me with the idea of conducting, forming the sound with hands, communicating with musicians, with audiences. And so little by little I have moved from full time playing through playing and conducting to full time conducting! Few people have inspired me to devote myself to what I am doing now, but most of all I must thank Neeme Järvi and Woldemar Nelson. Unfortunately Maestro Nelson has died a few years ago…
Do you still play the viola?
Not really, just for myself or when working on bowings. I do think though that I might play some chamber music with friends just for fun in the near future.
Do you have any other interests apart from music? Or does music completely fill your life?
There you say it yourself – music is not just filling my life: it is my life. But music is interconnected with so many forms of art and life in general, so I try to devote my time to reading, going to museums and theater when I can. The fact is – time is a very cruel thing and there is never enough of it, so being a husband and a father of two beautiful children I try to also devote my time to my family, which is very important to me! If anything else stands out among my many interests – I am a passionate cook and do very much like spending time in my kitchen when I am at home. This is also a place where I love to be with my kids, who are very good helpers!
As well as working with various orchestras in Germany and other western European countries, you have spent time in Wroclaw and often return to the Czech Republic. Would it be fair to say you are more at home in the Slavic repertoire?
Perhaps you did not know that, but since 2008 I am also holding the position of Music Director with Arthur Rubinstein Philharmonic Orchestra in Lodz, Poland’s second largest city. This is also the second oldest Philharmonics in Poland: in 2015 we will celebrate our 100th anniversary. - Obviously working often with East European musicians, and over the past years I have conducted in Zagreb and Belgrade, Bratislava and Warsaw, Budapest and Krakow, is in a way easier for me, since probably the mentality or the common Slavic routs are a good help. And yes I have spent many years working in Wroclaw too, so a lot of Polish repertoire is also where I feel at home. – I always find it very special going to Czech Republic, but so far I have actually worked with only Prague orchestras. I think that except the Czech Philharmonic I have conducted all the main Prague orchestras by now. I can certainly tell that Czech musicians represent a unique mixture of both Slavic and West European culture and that makes it so special! And one more thing – I dare to say that I do not know any other nation which plays its own music the way the Czechs play Dvorak and Smetana!
What was your first link to the Czech Republic?
It is actually very strange, but my first link was through hockey! I was definitely never a patriot of Soviet Union, so I left as soon as I could, and I was always ashamed of what the “Soviets” did to Prague uprising. So whenever Czechs were playing against Soviets I was secretly hoping the Czechs will beat them! But seriously it is of course music where the most important link lies. I was the first Viola player in Russia to play Rhapsody Concerto for Viola and Orchestra by Bohuslav Martinu in Russia with orchestra! After that I have played the work some 60 time around Europe always enjoying this great music.
Are you friends with many Czech musicians?
I am blessed to have so many good friend among the musicians around the world, so Czechs are not excluded either. Too bad we see each other so little!
On what projects have you previously encountered the Prague Radio Symphony Orchestra? And do you have any plans for further appearances in this country?
Over the past few years I was privileged to work with PRSO on different occasions, be it on tour or in Prague. We have travelled to Belgium, Netherlands and Germany last year and will go again in October later this year. I have also conducted a subscription concert at Rudolfinum 2 years ago and will conduct a concert at Cesky Krumlov this coming July with PRSO and Mischa Maisky as soloist. And there are also plans with other orchestras in the future, Prague Philharmonia being one of them for example.
Thank you for the interview – Jitka Novotná
