Alternative text: LEAD! podcast, episode 2: conducting student Mattia Bornati
Speaker: Conducting student Mattia Bornati, Haute école de musique Genève in Switzerland
It’s always very interesting to go around the world and just meeting new people. I really like the opportunity to work with the Singapore musicians and the Finnish musicians. I never met this kind of musical culture and of course working with Jukka-Pekka Saraste is a big opportunity for young conductor as I am, so that’s why I’m here now
We’ve met Jukka-Pekka Saraste of course. We had already conducted the orchestra few minutes, but we conducted. We didn’t really know when we could conduct the orchestra. We still did so, and we had this beautiful workshop with Paul Hughes and Sarah Osa. And they’re really interesting because they’re in the music industry and they know the networking. They know how it worka, so there are lots of advice really interesting for us so. It was really complete day, so I’m very happy. I’m looking forward to seeing the next day – what are we going to do.
Building some good networking, so knowing people – I know these kind of people can give me a job. I want to know them because they are like kind people and they are good musicians, so I want to work with them. Musician in the orchestra or the soloists will have the chance to work with great soloist in cello, conducting a symphony and working with Jukka-Pekka Saraste is main goal I think of this project and just knowing him and seeing him working: even starting with the beginning of the Symphony yesterday and see what are going to be this Symphony, what is going to be this Symphony on at the end of the concert? Of course, conducting Sibelius is pretty interesting too.
We are losing audience, so the main goal, I think for us is to keep our audience and to create a new one. I think is going to be the main work in the music industry. Then building the networking. So we will have to create some projects that are going to be human projects and the second point. Of course it’s the problem of the climate change. We will have to work differently and I hope we will and we will jump in because it’s really important to change our way of working because even if we change our way of travelling, it’s maybe going closer to where we are. We see that in South Europe: we’re losing music in the countryside because we want always go into big cities very far away
And maybe just taking the train, not going very far, you could just bring music to the people that don’t have music from since 20 years because people don’t go there. So maybe having this human project that can be climate friendly maybe will bring some new audience to the concerts.
People that want to hear music and really want to focus and concentrate in the music can be disturbed by the outside; by the people, by the festival ambiance in the concert. So we have to deal with the musician and the audience that want to keep really focus on the music and the people and the musician and the others that want to just have fun and just have a good moment, drinking a beer listening to 40th Symphony of Mozart… Right, so I think we have to do both and we have to be flexible, to be different with different audiences. That we have to build it now, it’s good for us because we’re working on it, but it will be the normal thing in 50 years… It will would not be in six months that we are going to change all the music industry.
Once again, I don’t want to change all the music industry because we have to deal with all the audiences, but we have to open. I’d like to be a conductor that’s creative and inventive but not just being part of something far away. And yeah, “he’s the conductor that created or invented that”. Being part of the musical industry and just trying to change and propose something new, this I think could be something I would be proud of it.