Daniel Harding naturally leads his double life as top baton and co-pilot of Air France. Neither superb nor humble, he is a true Englishman from Oxford who, as a teenager, already shone with his own light when Simon Rattle welcomed him to the Birmingham Symphony and then Claudio Abbado to the Berlin Philharmonic. it has rained On the 31st he turns 48, but so much effectiveness acquired does not diminish his enthusiasm. His mantra is… “If we do it, let’s do it well, professionally”. Resident in Paris, in 2024 he will assume ownership of the Accademia Nazionale di Santa Cecilia (without leaving that of the Swedish Radio Symphony), replacing Antonio Pappano. Harding ended his tour of Spain with the Chamber Orchestra of Europe in Torroella on Wednesday with great success.
Was it his idea to combine Beethoven and Sibelius (Quartes symphonies, the Coriolan Overture and the Suite de Pélleas et Mélisande)?
I suggested it, yes, because they are two of the composers I remember being impressed with when I heard them played by the Chamber of Europe. They are very different, but they are good companions.
He says the chamber concept is an attitude, rather than an orchestral measure. But it shocks that Sibelius is played with 50 musicians.
The first time Beethoven was made like this it seemed impossible and now it’s normal. Then it was Schumann, Brahms, Sibelius! Why not? When I heard this orchestra playing Sibelius it was conducted by Paavo Berglund. I was about 19 years old and it surprised me, but no one knew that music better than him. It was extraordinary. Sibelius has difficult balances, there are very interesting wind parts and sometimes with the big orchestras you can feel an impression, but not everything. With a small orchestra you have to work to get a deep sound. With a big one, transparency.
Didn’t he run to listen to Berglund’s version to make this 4th?
No, I’ll hear her now. I preferred to do it and see where it led us. If not, I would have tried to do the same.
He says that being a co-pilot gives him the perspective of a musician in an orchestra. Have you been promoted to pilot yet?
I’m still a co-pilot, and while they’re not similar worlds, they do have parallels. It’s interesting to be part of the team and with someone who has the authority that I don’t have. It’s good to experience not always having the last word.
Has it ever become difficult for you to be the one to decide?
You must love it. If it makes you anxious, I don’t think you can do the job. You have to say “this is how it is today” and feel comfortable with the decision made… And tomorrow you can make another one, nothing happens.
Do you have ambitious plans for the Accademia di Santa Cecilia?
A lot: we will do the Wagner cycle, from 2025 to 2028; my first complete Ring. First year, Valkyria, then Sigfrid, the following The twilight of the gods and finally the Gold of the Rhine. Musicians want to do Mahler’s. And we will make requiems for the basilicas of Rome.
