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| Thierry Fischer biography |
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| Thierry Fischer biography (French) |
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| Thierry Fischer discography |
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| Thierry Fischer press quotes |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Thierry Fischer (credit: Scott Jarvie) |
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Q&A with Thierry Fischer
BBCNOW’s principal conductor talks to Alex Stevens as he prepares for creative freedom in the American Midwest
Classical Music Magazine, 14 July 2012
Conductor Thierry Fischer has been principal conductor of the BBC National Orchestra of Wales since 2006, before which he had been principle conductor and artistic advisor of the Ulster Orchestra from 2001. He began his conducting career when principal flautist of the Chamber Orchestra of Europe under Claudio Abbado, after which he was appointed chief conductor of the Netherlands Ballet Orchestra. Having come to the end of his contract with the BBCNOW he will be working full time as music director of the Utah Symphony, where he was appointed in 2009. He will conduct the BBCNOW for the final time as principal conductor in two concerts at the Proms this summer, in a programme of Hugh Wood, Elgar and Debussy (26 July) and in Berlioz’s Grande Messe des Morts (11 Aug.)
www.bbc.co.uk/now
How do you feel to be leaving the BBCNOW after six seasons in charge?
Very good. It was a great time, and I must say that I was very proud to be a part of the BBC, I have immense respect for what it does in general, and being responsible for one of the orchestras was very important to me. The BBC allows you to do programming that other orchestras cannot; we have done great projects in Cardiff and toured six times during my tenure; we have continued to record with Hyperion; and of course a highlight each year has been playing in the Proms.
Have you enjoyed the opportunity to perform so much new music in Wales?
Yes, I believe in the responsibility – I was going to say defend, but it’s not defending! – the responsibility to promote new music. I think it is a language that is very important today and should not be neglected, but positively and enthusiastically promoted. For me it is an irresistible need to work with composers, discover new sounds, and it allows me to have a different outlook on the core repertoire. As Alban Berg said; “It is important to play new music as if it was classical, and to play classical as though it was new music.” Being very involved in contemporary music allows me to quote Alban Berg, and believe in this quotation.
Why are you leaving now?
I’m leaving for a million reasons! The main thing is that I feel very free now, with the way the music directorship is in America. Here it’s very different – as the chief conductor it was difficult for me to see that it was my orchestra. I had to act fulfilling the BBC – which I 100% believe in – but now I have other perspectives, and as an artist I need to feel as free as I can to allow my creativity to be expended on all levels of an orchestra. It’s a completely different way of being a conductor.
Have you enjoyed life in the British Isles – will you miss us?
Well first of all I’ll be back, many times, with the BBCNOW and with other orchestras. But yes, I feel very close to the British mentality. I’m a keen runner and hiker so I will miss the nature outside the cities; I love British people, and I love the professionalism of British orchestras – it is world-known that they are so quick, so disciplined – so this is something I will not only remember but which is in me now. I have this as a reference. So I very much look forward to coming back, on a regular basis.
Is it fair to say that with each move you’ve made, from Ulster to Wales and now to Utah, you’ve gained more artistic freedom?
Yes, that is absolutely fair – in America I will have complete freedom, from A to Z. I’ve noticed already in my first full season in America how an unlimited attraction to possibilities is essential as a conductor, and I have this now. In Wales I had this, but in a frame – I loved this frame, but it was a frame that I had not made myself even though I loved it with no reservations. Now, with this new step in my career, I frame the frame. And this is extremely important to me: it allows me to forget the realities and go instead to the possibilities.
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