Gramophone magazine has published the first interview with Mirga Gražinytė-Tyla by someone who actually knows her, has worked with her Bimingham orchestra and seen most of her concerts there. Richard Bratby brings out a portrait of an extremely hard-working, self-confident conductor with her feet planted firmly on the ground.
‘Repertoire-wise, at least, my hope is that we will be able to record some very special – maybe unknown – things. When I think about recording, I feel a sense of responsibility about the fact that what we do stays there forever. Maybe one day I can dream about recording Mahler, but right now I have a feeling that we already have so much of that sort of thing. There’s much less … let’s call it “need” for another Beethoven cycle, than there is for the discovery of Weinberg’s music….
‘Weinberg’s work is incredibly diverse. There are examples of the happiest music ever, and the most serious music conceivable. His skills as a composer are incredible: all the pieces I have studied and worked on so far have been incredibly challenging both for the players and for the conductor. Analysing a Weinberg score is a fantastic occupation because he uses every possible technique to connect and develop his themes. These techniques are never just used for the sake of it, but are always very much connected to a certain message he wants to convey.’
Full interview here.
I’ll suggest Goldschmidt when I see her.
Name 5 more composers who require her urgent attention.