Pinchas Steinberg: Music itself should not be missed either

The members of the Liszt Academy Symphony Orchestra assume a serious responsibility, as the students keep fluctuating ever so often, yet they must represent and pass on the traditions of the 142-year old institution. Beyond its educational purposes, the ensemble stands for a high musical standard, and its young members are lead and shaped by renowned conductors every year. It is not the first time that Pinchas Steinberg, the globally acclaimed Israeli conductor has been a guest at the Liszt Academy.

His music education took place in the United States and in Berlin, he was also under the tutelage of Jasha Heifetz. As a boy, he saw Toscanini rehearse and performed Bach’s Double Violin Concerto in D minor on David Oistrakh’s side. It was in 1974 when he had first taken to the stage as a conductor. Since then, he has led performances given by virtually all significant symphony orchestras in Europe and is a returning guest musician in the most famous opera houses. Under his guidance, the Liszt Academy Symphony Orchestra will be playing Prometheus by Liszt, Brahms’s Violin Concerto in D Major and Symphony No. 2.

Pinchas Steinberg and Liszt Academy Symphony Orchestra in 2015 Photo: Liszt Academy of Music / László Mudra

What is your opinion of Liszt’s Prometheus?

Liszt was famous for writing „symphonic poems’. Each one of these had their specific subject matter. In Prometheus, Liszt does not focus on the Prometheus of the Greek mythology but dedicated this work to the Weimar writer-philosopher Johann Gottfried Herder’s memory. Liszt respected Herder so much that he conducted the composition’s first performance in 1855 personally as the Kapellmeister of the Weimar Court Theatre. What we come across in this work is suffering, longing and the notion of power – these are the emotions Liszt was meaning to express.

What is your view on Liszt’s perception in Hungary?

I know that Liszt is held in high regards in Hungary, and the nation considers him her very own composer. Even the airport is now named after him, and he was the founder of this music university. He had a good command of German and French but not Hungarian, though. In my opinion, he had a unique Hungarian identity or rather, an identity that he believed to be Hungarian. Nonetheless, he did not permanently live in Hungary. I know a similar case in the history of music: that of Smetana, who composed The Moldau but spoke only German and no Czech.

Does this identity that is more German in its nature also appear in Liszt’s music?

Yes, I think so. Although in the Hungarian Rhapsody Liszt tried to imitate the Gypsy element in Hungarian music, for me he is still a German composer. It is quite interesting that Liszt’s best friend should have been Wagner who integrated a lot of Liszt’s style into his own. And we describe Wagner’s music as very German. The same can be claimed of Liszt’s music. What makes Liszt Hungarian is his emotional attitude.

How much do you think is the Liszt Academy Symphony Orchestra is prepared for the challenge?

It will be the second time I have conducted this orchestra. I do sense the difference between the two groups of students: they are not the same people now as they were two years ago. With certain sections I am more contented than last time, for instance, with the hornists. It is my general opinion of this generation – not only of the musicians of this orchestra – that they were born in an era when technical virtuosity prevails over everything, which may result in the emotions getting lost. Is is worth reminding this young generation of musicians to play with a soul, not only with technical perfection. Music itself should not be missed either.