"I want to build a reliable cultural bridge between Russia and Turkey"

Russian orchestras are the most productive, it is very comfortable to work with them, and Turkey will invite them on tour. And also, perhaps, the two countries will have a joint festival. Jamie Jan Deliorman, artistic director of the Ankara International Music Festival and chief conductor of the Presidential Symphony Orchestra, the oldest Turkish academic orchestra, told Izvestia about this in an interview. The maestro came to Russia to perform at the closing of the White Lilac Festival in Kazan, standing at the console of the State Academic Symphony Orchestra of the Republic of Tatarstan (GASO RT). On the eve of the concert, the artist talked to Izvestia.

"Rachmaninov's symphony is full of simplicity and purity of Russian nature"

— At the closing of the Belaya Lilac Festival, you are conducting a Russian band, the GASO RT. Is this your first time performing in Kazan?

— Yes, this is my first time in Kazan. Of course, I used to know something about the Tatarstan orchestra. I've been told that he sounds great and is developing very dynamically. But last summer I heard it for the first time at the Ankara festival, and it was amazing: not only me, everyone was amazed by the level of the band. Many of my musicians came after the concert and said, "Oh, maestro, this is such a fantastic orchestra!" They were all delighted with the special, unique sound. Now I came here and was able to work with this wonderful team myself, to get to know it from the inside.

— You have chosen exclusively Russian music for your performance: Prokofiev and Rachmaninov. Why?

— It's not my choice, but the organizers'. I was asked to write several versions of the program, but I said that I was open to suggestions, since I have a huge repertoire. The orchestra originally planned to play Prokofiev's third concert, there was even an agreement with the soloist, but in the end she could not, and instead they invited a wonderful young pianist Sergei Davydchenko. As for Rachmaninoff, I was offered the Second Symphony, and I gladly accepted. I've played it many times in Turkey, but also at the Mariinsky Theatre in St. Petersburg.

Of course, this is a very famous symphony. But this new contact with Rachmaninov's music is important to me. Last year I was in Tambov with the Rachmaninov Symphony Orchestra, and they took me to Ivanovka. The composer spent most of his life there and wrote many works. And the Second Symphony, especially its third movement, is very closely connected with Ivanovka for me. It is full of simplicity and purity of Russian nature.

— You head the Ankara Presidential Orchestra. Is there any difference between Russian and Turkish orchestras?

— Yes, of course. You know, I've conducted in many countries. And everywhere really has its own sound of orchestras.… We can talk about German, French, and even American languages that have unique features. As for Turkey, we don't have much of a history of symphonic music. But my orchestra is an exception: it was founded in 1826 in Istanbul. We just celebrated our 200th anniversary! After the revolution of 1923, the orchestra moved to Ankara. During his early years there, he worked with many great masters from Germany, and the conductors and even bandleaders were selected from international professionals. Now we have about 110 people, of whom about 35% are young people, but the rest are of the older generation, and they preserve traditions.

I think the big difference between Russian and Turkish orchestras is their productivity. Your musicians play very, very much. They have many more symphony concerts than in Turkey, which gives them extraordinary dynamics, energy, excellent music reading skills and reactions to the conductor. I would say that Russian orchestras are very "fast". When I had a rehearsal in Kazan, I was just amazed at how the musicians react to the conductor. You don't need to explain anything, just gestures — the orchestra grasps everything quickly. The same applies to the Mariinsky Theatre Orchestra. I can say with confidence that the reaction rate and the number of concerts they give each season are exceptionally high.

— Can we say that these orchestras are among the best symphonic ensembles in Europe?

— Absolutely! That's absolutely true. I would like to add that the Mariinsky Theatre is also the most productive musical institution in the world. If we compare it with the Metropolitan Opera or, for example, with concert organizations in Berlin, Paris or Munich, then the Mariinsky has about five times more concerts than others.

"When the muses sound, the guns are silent — unfortunately, sometimes the opposite happens"

Conductor Valery Gergiev — about The Nutcracker, humanism and the earnings of the Bolshoi Theater

"The music education system in Turkey is very similar to the Russian one"

— What do you think about the Russian conducting tradition? Have you learned anything from Russian conductors, maybe from Valery Gergiev, with whom you collaborate at the Mariinsky, or from someone else?

— I was educated in Austria, Germany and the USA. I have never had a teacher from Russia who could teach me Russian conducting techniques. But as a student, I attended Valery Gergiev's rehearsals with the Vienna Philharmonic Orchestra. And years later, after the pandemic, our paths crossed in St. Petersburg. Although I did not formally study with him, I consider him my mentor and a very good friend. And also a role model, and not only in music. Like him, I work for the cultural development of my country. We are two musicians who are trying to build a bright future for the next generations. We want to do something that, at least, will stay for a long time.

— You have already mentioned the festival in Turkey, where GASO RT performed under the direction of Alexander Sladkovsky. The team came at your invitation, as you are the artistic director of the festival. Do you plan to continue your collaboration with Russian musicians?

— This is an important topic for me. I would like to build a very reliable bridge between our countries: a cultural bridge. In Turkey, the music education system is very similar to the Russian one, we have many professors and teachers from the Russian Federation. So we really remain very close to your country culturally and musically. In addition to GASO RT, I invited the orchestra of the Mariinsky Theater. We conducted a large-scale tour, and the band performed in many cities, not only in Istanbul and Ankara, but also in major antique theaters in Antalya and Izmir. In total, Mariinsky has already visited us three times and will come again. We also invited the Bolshoi Theatre last year. He came with two concerts. And we continue to work.

In addition, I am looking forward to inviting Russian soloists to play with my orchestra and other Turkish ensembles.

— Do you have any plans for joint Russian-Turkish projects?

— This is also in the plans, I'm working on a special festival. But it's still in the process, so I can't reveal the details yet; after the final confirmation, we'll announce it. I think the potential here is huge. There is a very large young audience in Turkey. Plus, there are many young musicians who study in our country or abroad and are looking for opportunities for self-realization. And Russia has a huge cultural heritage. That's why I want to really establish a connection between our countries. In particular, I plan to commission works by composers and participate in festivals with Russians.… It's all on my mind, and I think we're moving well in that direction.

"We receive offers of tours from abroad every year"

Conductor Alexander Sladkovsky — about music as an instrument of diplomacy, the reaction to "Get up, Russian people" in Italy and the flourishing skills of performers

"Since childhood, I have dreamed of seeing the cities through which the Trans-Siberian Railway runs"

— Do you remember your first visit to Russia?

— Yes, of course. That was about eight or nine years ago. I just came to see Moscow as a tourist and, of course, went to the Bolshoi Theater. I've seen almost all the major opera houses in the world before, from New York to Vienna, Paris and Berlin. And for me it was like an adventure to find out how everything works in Moscow. Of course, the magic of the Big One cannot be described in words. There are the best soloists there — they are in great shape both in acting and musically. But I was equally struck by how the public feels about what is happening, how devoted people are to art!

This was my first impression in Moscow, and seven years later I got the opportunity to conduct the Bolshoi Orchestra at the Easter Festival. And I took it as a real magic! You see, many years ago I met Valery Gergiev when I was still studying conducting, and now I'm working with him!

— Do you want to visit any Russian cities that you haven't visited yet? Is it possible to perform in some halls or festivals in Russia?

— Actually, I want to visit a lot of places. Russia is a big country! For example, I want to go north. I would also be very interested in taking the express train along the Trans-Siberian Railway. Since childhood, I have dreamed of seeing the cities through which this train goes. By the way, I would be happy to take part in the tour of the Mariinsky Orchestra as part of the Easter Festival. The musicians are traveling very far there, all over Russia. And this is a chance to see not only big cities such as Moscow, St. Petersburg, Kazan, but also a variety of places in the regions. I hope this will happen in the near future.