On October 30, 2016, American conductor Brad Lubman leads the world premiere of Enno Poppe’s orchestra work Torf and the new version of Philippe Manoury‘s Sound and Fury (published by our partners Durand-Salabert-Eschig) at the NOW Festival in Essen. Find out more in this interview.


After watching you conducting, Steve Reich once said: “This is exactly the kind of guy I am always looking for.” He referred to your “chamber music mentality” and the clarity in the way you conduct. How does this mentality help you to work on Enno Poppe’s orchestra composition Torf?

My approach is the same with all music, whether it was written in 1616 or 2016. I look for what it is that the composer is doing in a given piece and then work to bring these concepts (sound, feeling or emotion, structure, color, drama) to the surface for the listener to easily perceive.

I believe that even a large orchestra should function like a chamber music ensemble, and my belief is that if a conductor can conduct with clarity and precision, this should help the musicians in making the best results possible.
 
In your opinion, what is special about Enno Poppe’s music?

What stands out to me in Poppe’s music is his ear for microtonal harmony, sense of instrumental color, and the narrative of each piece - meaning that there is something interesting that perhaps is unexpected, offering a provocative journey.

You conducted the world premiere of Philippe Manoury’s Zones de Turbulences. Now you are performing the new version of Sound & Fury. What sparks your interest in Manoury’s compositions?

Manoury for me is the next in line in the great tradition of Boulez. Manoury has an excellent sense of how to work with various types of harmonic language, how to extend the language of the Second Viennese School so that we hear a very enticing and eclectic harmonic palette. He also has a wonderful sense for orchestral color and texture.
 
How would you explain Manoury’s music to somebody that has not heard it before?

A fascinating and alluring labyrinth, with excellent craftsmanship and an enticing sense of both powerful and poetic moods.

In general, do you see a change in the reception of contemporary music?

Although it’s true that there are still people who don’t like to be confronted by anything that is new or unusual to them, I feel that there are more and more people than ever before who have eclectic tastes and an appreciation for a wide variety of music from the very old and traditional repertoire to a mix of new things. Maybe this is what I see in the younger generation (people in their 20s), but in any case it’s very inspiring!
 
The year 2016 is almost over. What were your highlights of this year?

Many highlights for me this past year, including several debuts with orchestras: Royal Concertgebouw, Danish National Symphony, Barcelona Symphony, Maggio Musicale Fiorentino, and the San Francisco Symphony Orchestra. There were also wonderful projects at the Lincoln Center Summer Festival, and at the Miller Theatre with my group in New York, the Ensemble Signal.