There isn’t a self-respecting orchestra that wouldn’t want Daniel Harding’s (Oxford, 1975) baton. We listened to the young Brit, promoted by Simon Rattle and Claudio Abbado after discovering his undeniable talent in Donostia with different groups and repertoires, and he has always impressed thanks to his personality and his way of making music. At the age of 48, Harding promises today (20 hours) a unique encounter in the Kursaal, in front of the Chamber Orchestra of Europe, at one of the big events of this year’s festival.
A group formed in 1981 by a group of young people who met as part of the European Union Youth Orchestra (EUYO). Two great teachers supported her and helped her in her development: Claudio Abbado was her mentor and Nikolaus Harnoncourt, one of the most committed musicians. It currently has 60 members and regularly collaborates with figures such as András Schiff and Yannick Nézet-Séguin and maintains close ties with the most important festivals and auditoriums in Europe.
Today Beethoven and Sibelius will be the composers who will allow us to discover the ability that chamber orchestras have to indulge in details thanks to the very high level of all their components. In the case of Beethoven, they collaborated and recorded their music with Harnoncourt, and just over a year ago they released all of Sibelius’s symphonies to great reviews.
director and pilot
The Chamber Orchestra of Europe will have an extraordinary baton at the podium today with Daniel Harding. As an Air France pilot, the Briton combines this hobby with his work with orchestras. “I enjoy it and my brain suits it. Also, starting something from scratch at 40 is positive, especially as I’ve been conducting wonderful orchestras for thirty years and there comes a time when you start questioning yourself and thinking about learning something new. It’s a very healthy challenge and I think more people should take on that challenge.
The need to take everything he does to the highest level has made Harding one of the best directors in the world. Although used to working with large symphonic ensembles, in this context he emphasizes the value of making music with smaller ensembles. His maxim is: “Music must be played off-screen and in an understandable way.”
Perhaps that is why he is a musician who appreciates the power of small orchestras in a special way. He has proven this with the magnificent works he has created together with the Mahler Chamber Orchestra, of which he is honorary director.
