Hear from our Chief Conductor, Eivind Aadland

Eivind, please tell us why you and our TSO musicians decided to hit the road for our On the Winds concerts in Franklin’s beautiful Palais Theatre and Triabunna’s Spring Bay Mill. 

Music is about communication and connection. That's what we live for. It's important for us to reach as many people as possible. Music is just an idea, unless we meet people, perform and play to somebody. We can study, practice hard, prepare. But when the magic can happen is when we meet an audience.  

What are some of those ‘magic moments’ for you when performing to an audience?  

You know, it's so hard to put into words, because sometimes I don't know exactly why a moment in a concert becomes special. I don't know exactly what it is, but these beautiful moments do happen, and it cannot be measured in the applause the audience gives us. 

Maybe it's the audience being extremely quiet, like you feel they're holding their breath almost. 

There is something that's impossible to describe. 

More and more, the older I get, I’m enjoying the live concert, the moment of live music making, with all the dangers of it not being perfect all the time. 

We have to enjoy this situation, creating something in the moment, that risk taking that’s involved, and through that, something beautiful can happen. 

You have mentioned that you don’t need to be a classical music ‘expert’ to appreciate an orchestral performance. What is your advice to first-time concert goers? 

It is very easy to listen to classical music. We think maybe it's complicated. We think we have to know so much, we think there are so many rules, but it is really just intuitive. Come in, sit down, be open, and music can touch so directly. 

I can be in a concert and suddenly I get goosebumps. I don't know why. It's not because I know there was a clever harmony or anything. It just happens. 

So you don't have to know so much. There are no rules to think about. If you applaud in the wrong place between movements, it's not wrong. I love it when people do that. 

So don't worry. Come and enjoy our music. 

Do you have an early memory that influenced your career in music? 

From when I was young, I played the violin. I played a lot and then I went to the Yehudi Menuhin School in Switzerland, where I studied and played chamber music with Yehudi Menuhin, who was one of the greatest violinists of his generation. He was absolutely wonderful. 

We were prepared at the academy very well, at a high level, but when (Menuhin) came in he made some small changes and everything opened up and became bigger. I even get goosebumps just thinking about it. He made me realise there are so many dimensions to music and to music making. 

You now work with a lot of young musicians and emerging conductors with the TSO and in Europe – how has your early training influenced your own teaching? 

I've always enjoyed working with young musicians, and I learned so much from my teachers that I hope to pass on to the next generation. We have to look after the future of what we feel is so important, the music, the classical music. So we have to be part of this, bringing along our tradition and mentoring and helping young talent – conductors, composers, soloists. It's very important. 

We’ve had some questions from audience members about your pre- and post-concert rituals. Do you have any you’d like to share? 

I like to do very little in the afternoon. Quiet is important, I think, just collect the thoughts. I always look at the program, look at the scores, make sure I remember things. And then, as the concert gets closer, I try to find a quiet place, maybe iron my concert shirts. Nothing too mysterious.  

When I'm not performing, I exercise. At my age it's important to exercise. I go running and I eat well. I enjoy the food in Tasmania. 

We have been told you’re a bit of a beer aficionado. How do Tasmanian ales compare with European? 

There are great beers here, but I don't want to get into the competition between Hobart and Launceston, Cascade and Boags! My favourite beer I think is made just across the street from where I stay, the Cream Ale of Hobart Brewing Company. I love it. It's excellent. 

Our subscribers have responded enthusiastically to our Season 2025. If you had to name your top three concerts for next year, what would they be?  

I'm really looking forward to the opening concert next year, doing Brahms' Concerto with James Ehnes, who is one of the world's really great violinists. It's a piece that I absolutely love, and I think James Ehnes is the ideal soloist for this work. 

We're also doing two of my absolute favourite song cycles. Berlioz’s Les Nuits d’ete, Summer Nights and Richard Strauss' Four Last Songs. They're just incredible works, both of them. Strauss wrote his last songs for a Norwegian soprano, Kirsten Flagstad, and she premiered them, and they're just so beautiful. And we have fantastic soloists for both song cycles, Joyce DiDonato and Siobhan Stagg. 

Do you have any final comments about why Tasmanians should come and experience their orchestra? 

I think in the world today, there are so many things to worry about. We have the environment, we have terrible wars. I think what music can give us is so important – the healing power, food for what's inside of us – is more important today than ever. 

Thank you Eivind! 

See Eivind Aadland in action in upcoming concerts, including with pianist Nobuyuki Tsujii on November 2 and violinist Clara-Jumi Kang on 15 November. Explore the full TSO program.