With some zapping on the channels of the public broadcaster, three hours of classical music programs could be viewed on Sunday. Unfortunately, the same public broadcaster has the misconception that it must be classical-musical amateur famous Dutch people who act as crowbars to offer the viewer access to a world that is often regarded as elitist.
Dutch celebrities generate viewing figures – the supposed lifeblood of every channel. And they help to popularize and desecrate classics, with their big smiles, their disarming clumsiness and their ever-positive attitude to whatever program they appear in. In short, they are the red blood cells that provide programs with oxygen.
In Maestro On Sunday, in the semi-final of the elimination race that should lead to a best conductor next week, three Dutch celebrities competed against each other. On prime time. They were followed for an hour in preparation for two music fragments to be conducted live. Professional musicians try to teach them the basic principles of the profession with – is there another way? – often poor results. Three judges, not even the least ones, hand out points and provide comments. It seems the mixture of gloating about failing conductorship and the admiring realization that ‘there is still a lot involved’ with such a task, which mainly determines the viewing figures success. The pieces of music are so short that they can hardly lead to emotion, even when performed perfectly.
the hour before Maestro we followed comedian Tijl Beckand. The classical music lover with a tendency to idolize was followed in his (series) shown preparations for conducting the complete Ninth van Beethoven with the Residentie Orkest. He strolls through Vienna, the composer’s residence two centuries ago. Visits Japan, where the Ninth is just as loved as Bach’s Matthäus Passion in the Netherlands – for reasons that are not explained. May beat the clock for a youth orchestra in Tokyo.
Painful question from top conductor Jaap van Zweden, interviewed by Beckand: ‘Do you read music notes?’ The wannabe has to deny it. ‘New? That’s the most important thing.’ A showstopper that could have led to the realization that Beckand had better try without baton the beauty of Beethoven’s Ninth to fathom. But no, the poison cup, once filled, must be empty.
While the Netherlands warmed up to Studio Sports took, at the inauspicious time of 6:25 p.m., Podium Witteman a start. Senior presenter Paul Witteman received a carillonneur, among others, who established that his profession is the last to play classical music in public space. Regular collaborator Mike Boddé, great pianist, brought a jazzy introduction to the history of boogie woogie. And harpist Annaleen Lenaerts, virtuoso musician with the Vienna Philharmonic, played part of Puccini’s La Boheme. No well-meaning amateurs, no overestimation: just professionals, who can’t earn points. Podium Witteman, the unsurpassed warm-up before the amateurs climb the concert stage.