“I see the orchestra as a group of equals. “All musicians are leaders.”

—What does it mean to perform a work like Max Richter’s “The Four Seasons Recomposed,” which has become a global phenomenon?

—I think Max Richter’s “The Four Seasons Recomposed” is, in many ways, an exceptionally attractive, colorful, vibrant, imaginative and captivating work. Many people have tried to take music from the past and give it a new “costume”, to bring it to our times, and that doesn’t always work well. In this case, I sincerely believe that this is Max Richter’s best work. He is touched by a flash of genius and pays an authentic homage to the original Vivaldi, already extraordinarily imaginative and fascinating. Richter values ​​Vivaldi’s music and transposes it to our times in a bold, lively and visceral way. The listener experiences pure Vivaldi: the evocations of nature, the bucolic elements, the beauty and danger of the planet, the celebrations, the anxiety of approaching storms… and, as a result, we are transported into a completely modern world, sometimes even with a nightclub atmosphere. In short, it’s a brilliant tribute to Vivaldi.

—You recently recorded this work on disk. How does your live performance change from the studio version?

—For me, it’s music that should always be approached as if it were a live show. Even in a recording studio, I imagine the audience in front of me, because this music is about communication: between me and my colleagues in the wonderful Stift Festival Orchestra, and between us and the audience. Since I conduct from the violin, there are many opportunities for direct interaction: sometimes creating trios or quartets within the orchestra, other times conducting the ensemble as a whole. Music demands extremes: moments of tenderness, calm and poetry, and others of wild and extroverted energy. She must feel alive during each performance.

—Is it a particular challenge to lead this very energetic program from the violin?

—Artistic freedom and leadership can go hand in hand. In fact, the leadership I try to give to my ensemble is aimed at creating the highest possible degree of artistic freedom. We prepare thoroughly, work on difficult passages and talk about the music; but all this only serves to create the possibility of flying in interpretation and allowing imagination, color and emotion to appear. I see the orchestra as a group of equals. Many of the musicians are excellent soloists and chamber musicians, and I love the way we inspire each other on stage. In this sense, everyone is a leader, and this collective freedom is something I believe in deeply.

—How would you describe the sound and personality of the Stift Festival Orchestra in a program that combines baroque roots and contemporary language?

—We always try to delve into the different styles and moods of the music we play; This is part of the interpreter’s duty. Philip Glass’s “American Four Seasons” is written in his incomparable style and, now in its 90th year, is also a tribute of sorts to one of the great living composers. Glass combines rhythmic cells and harmonic patterns that can become hypnotic and fascinating. Sometimes they generate pulsing energy; others, an extraordinary calm. It must be played with great precision, warmth and color. Richter’s work combines direct quotes from Vivaldi with the music he brings to our times: romantic, rhythmic, wild passages or even what he calls “psychedelic disco”. Each style must be approached with complete conviction.

—Philip Glass was once called the “American Vivaldi.” What connections do you see between Glass’s “Violin Concerto No. 2 (American Four Seasons)” and the baroque tradition that this work evokes?

— I had never heard the expression “American Vivaldi,” but I like it. Yes, there is a link: clarity, rhythmic patterns, repeated harmonic structures and the use of a bass ground. The contrast between slow, moving music and fast, virtuoso passages appears in both. Two composers from different eras and continents, but linked by a common artistic sensitivity.

—Reviewers describe the sound of your violin as truly unique. How is someone able to create this personal sonic identity?

—My sound is my voice, as is the case with any violinist. We often try to imitate the human voice. I think about how Callas or Schwarzkopf or Ella Fitzgerald would express a phrase, and I try to bring that vocal expressiveness to the violin. With modern repertoire – Glass, Richter or others more avant-garde – the expressive limits can be pushed even further. Since I was a child, I have been fascinated by the extreme sounds of the violin. Violinists like Ivry Gitlis and Gidon Kremer, each in their own way, have always explored the full expressive palette of the instrument, and this has deeply influenced me.

—You are an ardent defender of contemporary music. What attracts you so much about new creations?

—My father was a contemporary composer and pianist, a wonderful musician who died too young in 2007. He composed courageous, adventurous and avant-garde music until the end of his life. I grew up in a small town in the east of the Netherlands, listening to him composing on the piano, rehearsing his works and working with modern music and the musicians who came to our house. These sounds were familiar to me. At the same time, he performed Bach, Brahms and Chopin wonderfully. So I grew up in contact with modern and classical music, and it had a profound impact on me. I love the great classics, but I also love working with living composers, and I owe that entirely to him.

—What kind of music do you listen to off stage?

—Actually, I very rarely listen to classical music in my free time, except when I have to study. Sometimes I listen to Mahler, Sibelius, Brahms or Tchaikovsky while walking or cycling. But in general, I like jazz, South American and Cuban music, and sometimes rock – Queen, the Stones, etc. –. When I cook, I always listen to jazz; It’s a combination that’s grounded in my spirit and deeply relaxing.

—The Stift Festival Orchestra celebrates its 20th anniversary in 2025. How has it evolved since its creation?

—The Stift Festival Orchestra grew out of the Stift Festival, which I founded 21 years ago in the beautiful rural Netherlands where I grew up. It started modestly but always with the ambition to combine great masterpieces with new commissions, and to bring together exceptional international artists with brilliant young musicians. The festival has grown enormously: around forty concerts spread over nine days each August, including symphonies, musical theater and even opera. Every year we form a festival orchestra with great international artists and exceptional young talents. This eventually gave rise to the Stift Festival Orchestra, an independent ensemble that now performs internationally. I love the combination of experience and youthful enthusiasm that works wonderfully, and playing with these friends is always a joy.

—What defines the spirit of the Stift Festival and how is it reflected in this project?

—The Stift Festival is based on openness, adventure and the desire to go beyond limits. Many concerts take place in the castles, churches and halls of this beautiful rural region. I try to create programs that are both engaging and stimulating. A fundamental pillar of the festival is to invite living composers to write for us. We have created works by Olli Mustonen, Pēteris Vasks, Roxanna Panufnik, Osvaldo Golijov, Isidora Žebeljan and many others. Young artists share the stage with established international musicians. There is room for experimentation and personal interpretation – and this spirit is also reflected in the Stift Festival Orchestra.

—He studied with legendary teachers such as Herman Krebbers, Viktor Liberman and Igor Oistrakh. What key lessons stood out to you?

—Herman Krebbers taught me balance, practicality, and the importance of studying slowly. Liebermann passed on to me the best of the Russian tradition: beautiful legato, sound production and a panoramic understanding of the work. Igor Oistrakh, my childhood hero, played with extraordinary passion and touching sweetness of sound. But perhaps Ivry Gitlis was the most important. He encouraged me to push the boundaries of expression, trust my instincts and develop my own voice. This has been with me all my life.

—You were also director of the legendary Brodsky Quartet. How did this period influence you as a musician?

— I spent twelve years as concertmaster of the Brodsky Quartet in London — a great privilege. Leading a quartet is one of my great passions. After these twelve years, I left to devote myself more to my other passions: playing as a soloist, conducting chamber orchestras (like in Madrid and Seville), working with composers and directing my own festival. I also founded a new quartet with my wife, the wonderful cellist Maja Bogdanović, and two dear friends. I still play in a quartet, but in a more flexible way. I have enormous affection for my years with the Brodskys, with whom I played several times in Spain.

—What does it mean to you to play a 1796 Lorenzo Storioni violin and to what extent does this instrument shape your artistic voice?

—I love my Storioni violin. I bought it almost 20 years ago. A Dutch foundation generously gave me a Guarneri del Gesù – an extraordinary honor – but after a while, with immense gratitude, I returned it. I realized that for my most important concerts and recordings, I always chose the Storioni. It became an extension of my own voice. The relationship between violinist and instrument can be like a marriage, and my Storioni and I know and trust each other.

—Do you have any stories about the tours you did in Spain?

—From my many trips to Spain – with the Brodsky Quartet and more recently with the Stift Festival Orchestra – I always remember three things. First of all, the extraordinary concert halls. Second, the warmth of the audience. And third, the pleasure of life after the concert: finding a good restaurant, having a drink and discovering the gastronomic delights of Spain. I have wonderful memories of my performances there.