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There have been wonderful interpretations of Beethoven’s symphonies in the past, and there will be many more in the future. What makes this music unique – and great recordings of it so precious – is the fact that it seems timeless: no matter when and by whom it is played, it always tells of the here and now, of the immediate present. Take, for example, the Fifth, the so-called “Symphony of Fate” – it could have been written for any time. After all, fate has always knocked on our door and will continue to do so tomorrow or the day after tomorrow. How did Beethoven manage to create something so timeless? I think his secret is that he not only strung sounds and forms together, but that his music is about ideas, about his ideas of life and love, victory and resistance. When performing and recording these incredible works, the main task for me is to show how relevant these ideas still are today, for our generation and for all future generations – and that this music does not belong in the museum at all. Of course, this is not an easy task. I am very grateful that I was able to face it together with the Vienna Philharmonic. Vienna played a very important role in Beethoven’s development as a composer and musician, and his symphonies were all premiered here. In addition, the Vienna Philharmonic’s music-making always aims at the core of the music – which fits Beethoven perfectly. To record these symphonies in the city where Beethoven spent most of his adult life, with an orchestra so closely associated with his works, is a great milestone for me. If you ask about my own contribution to this project, I have to say that this is not about me at all. It’s all about Beethoven’s music, and that means that as a conductor – together with the orchestra – I have to find the best way to communicate his ideas to the audience. Yes, I must have a vision, but I must not forget that this is only a subjective interpretation of Beethoven’s world view. My work ends where Beethoven begins. (Andris Nelsons) |