In the podcast, Creative Chair Thomas Adès talks to Ulrike Thiele about his special love of the Hungarian language, about his operas as worlds with their own physical laws and about the moment when he questioned himself as a pianist.
When are notes for Thomas Adès rubbish and when are they material for new compositions? How does white water rafting on the piano work? Why does he hang as a painting in the National Portrait Gallery? And how do you compose a great-grandson piece by Ligeti? Find out in the new episode of our podcast "Intro".
Intro in English
00:00 I feel very comfortable with my back to the audience
01:10 Exceptional situation: photo shoots
02:00 I like being in the driving seat, but it's not about the limelight
03:10 Do I really want to be a pianist?
05:00 Being myself is a full-time job
05:40 The coveted Opus 1
06:35 I actually always have my nose in a book
07:20 The right language for your own musical language
09:05 Summer with Kurtág
12:30 A great-grandson piece by Ligeti
13:55 Musical portraits and companions
15:20 Kirill Gerstein, the improvising virtuoso
17:50 Rubbish and material
20:00 Composing with two knees
21:00 The lines between light and dark
22:20 The violin at the centre
22:45 A world with its own physical laws
23:30 Symphonic water world
24:30 White water rafting with "Powder Her Face"
25:30 Ready deadlines!
27:00 Thomas Adès at the National Portrait Gallery
Our "Intro" is now also available on Spotify, Apple Podcasts and many other podcast platforms: Simply subscribe to our podcast directly here, in the player or set up an RSS feed.
