Dutch-Maltese conductor Lawrence Renes returns to conduct the Malta Philharmonic Orchestra following on last year’s performance of Ein Heldenleben. The Sunday Times of Malta catches up with him.

How are you feeling about the opportunity to collaborate with the Malta Philharmonic Orchestra for a second time?

The opportunity to collaborate again is most exciting. Last January’s performance was a memorable occasion and I had a good time with all the musicians and staff.

Indeed, after that concert, we initiated discussions to return back to Malta. Luckily, I happened to be free for this last weekend in January, as usually I would be booked from many years in advance around this time of year.

Moreover, I understand this is the Maltese premiere of a Bruckner symphony, hence I am keen to bring this ‘new’ composer to the orchestra and the Maltese public.

The choice to feature this composer is not a coincidence. In fact, you were lauded as a conductor who “has the makings of a very fine Brucknerian” following your concert with the London Philharmonic in 2017. How do you explain such affinity with the Austrian composer?

Well, the Netherlands – where I studied – always had a very strong Brucknerian tradition. Getting the opportunity, as a student, to hear the Concertgebouw Orchestra perform his works with their then music director Bernard Haitink left an immediate impression on me.

In addition, one of the very first symphonies I played as a violinist in the National Youth Orchestra of Holland was Bruckner’s 8th Symphony.

His compositions are very dear to me and throughout my conducting  life they have been a recurring feature in programmes.

In your role as a conductor, how do you interpret his works in view of the so-called ‘Bruckner Problem’ of having different versions of the same piece?

This is a very important topic and I have spent a lot of time dealing with the issue. Sometimes I have even conducted different versions of the same work to try them out for myself.

In the end, there is no real way of asserting which version Bruckner preferred. As such, it comes down to the conductor who must be versed enough to develop a better understanding.

Invite people to simply come, close their eyes and experience the music

After conducting his music for 25 years, I have come to the conclusion that the second version is the strongest and most true to Bruckner’s intentions.

Can you elaborate a bit more on the title The Romantic and how it conceptually links to the symphony?

First of all, although Bruckner used it, I am not sure he coined it himself. Indeed, during this time-period such names were used to allow people to relate more to the work. In reality, I believe that the description is not worth very much. Personally, what I find most pertinent is the very deep religious world-view, an experience which I will try to convey to the audience.

Rather than following a pre-established story-line, I invite people to simply come, close their eyes and experience the music. There is not a single way of relating to it.

Bruckner’s symphonies have been described as “cathedrals of sound” due to their majestic structures. What  makes this particular work one of his most popular?

This symphony’s melodies and writing are so enchantingly beautiful, immersed in an easily accessible structure and a very clear architecture. Such elements ensure an ideal way for people listening to Bruckner for the first time to understand his music. On the contrary, the Fifth’s Finale, for example, is much more dense.

With reference to the cathedral sounds, the composer ex­pertly used the palette of registers of orchestral instruments, especially brass and woodwinds.

Indeed, I believe that our biggest challenge will be to perform the work in the acoustics at the Mediterranean Conference Centre. Taking a cue from this, allow me to use this opportunity to stress how important it is for Malta to build a concert hall in the very near future.

It is said that German Minister Albert Speer, known as “the Nazi who said sorry”, chose to perform this symphony  in 1945 as a signal that Germany was losing World War II. How do you think music can relate to the contemporary global political scenario?

A straightforward answer to this question is not that simple, but let me say this: arts are very important as through music (and other forms) we can learn about empathy and compassion. Indeed, we can re-discover how to be human, putting aside, through listening, any ego-centric attitudes.

We should all learn from the annals of history and from what the great artists had to say over the years; in Bruckner’s case, it was religion. His spirituality reso­nates with all, and the music speaks for itself, inspiring listeners to pursue a reflective journey.

A final remark on Wagner’s Wesendonck Lieder – Bruckner’s admiration for this German Romantic master is well-documented. What led you to pair these two works together?

Both of the works we shall be performing were written by composers who had yet to reach the height of their creative prowess. Moreover, they complement each other – indeed, I have conducted them together on more than one occasion.

Although most expect Wagner’s works to be grand and dense, these Lieder are short, light-textured and very romantic, in the true sense of the word. They provide an ideal balance with Bruckner’s symphony, ensuring a fantastic night for musicians and members of the audience.

Lawrence Renes will be conducting the Malta Philharmonic Orchestra on January 26 at the Mediterranean Conference Centre, Valletta. The concert will also feature soprano Emma Bell in Wagner’s Wesendonck Lieder. Tickets are available online.

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