Kazushi Ono has shared the secrets of his creative process in a Q & A with Brussels Philharmonic
What do creativity and inspiration mean to you?
Creativity plays, of course, a crucial role for a conductor. Contrary to a composer, however, a conductor’s creativity should not spread freely beyond the score with the purpose of self-display. Conductors always need to keep in mind, that we are as loyal as possible to the score, loyal to the composer’s intention, loyal to what composers intend to transmit to the audience. We are, so to say, spiritual mediums and creativity should be shown in this way. By reading the musical score, conductors begin the eternal conversation with composers, going very often beyond time and space and of course in person in the case of our contemporary composers.
When you find yourself in a creative rut, what do you do?
Close to my home in Brussels there are beautiful parks and lakes. Not far from my home there is Forêt de Soignes. I always enjoy taking a walk in this beautiful nature nearby, listening to the birdsong or the rippling of the leaves, feeling the breeze, sometimes even enjoying being caught by a sudden “drache” in Belgium.
Are there particular conditions that are essential for your work process?
I play the piano when I read the scores. To imagine the spirit of the time, in which composers lived, I read the novels or see the paintings of their time. For example, in order to understand “Zeitgeist” of Mahler’s time, I see the paintings of his contemporary Gustav Klimt, Maximilian Lenz, enjoy the architecture of Otto Wagner or Josef Hoffmann (I always admire Palais Stoclet from Avenue Tervuren on my way home from Flagey!).
In addition to understanding Mahler, I read the novels of Dostoevsky or Goethe, whom Mahler is said to have been a devoted reader of. Apart from the dialogues through the musical score, these activities help me to have a broader viewpoint towards the piece and background of the composition.
Read the full interview here.
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