documentary Gatti and the Vienna Philharmonic triumph with Brahms' symphonies in Athens Musica

A triumph! the Vienna Philharmonic Orchestra, under the passionate baton of Daniele Gatti, has recently enchanted Athens, performing Brahms's four symphonies over two nights. The Italian maestro conducted the four symphonies before with the Viennese in 2012.

Daniele Gatti, conductor: "The Brahms cycle was a gift for my fiftieth birthday from the orchestra's musicians, and what a gift it was! Thanks to my father, I have to say that I got to know Brahms's symphonies quite well, and even before playing his piano rhapsodies. I remember that in evening we used to listen not to a complete symphony but to a movement here and there. I was very young, I've always been fascinated by this composer."

The love affair between the Vienna Philharmonic and maestro Gatti spans almost a decade now. His interpretation of Brahms stirred great enthusiasm with the opinion public and the orchestra, according to its recent elected President.

Andreas Großbauer, VPO's president and first violin: "He is giving a lot of breath to the music, so when it's a little bit slower, we have time to control the sound more, so we can play every phrase and even the fastest phrases, we have time to focus on every note."

Daniele Gatti, conductor: "Brahms is always a very complex composer, he's very 'mathematical'. In my view, his greatness and his mystery line the fact that his composing technique is extremely scientific, but when you listen to it, the result is one of natury flowing, almost written on the spot music."

Andreas Großbauer, VPO's president and first violin: "You cannot say 'this is the best, it is like you are comparing a Bordeaux one to a Burgundy one: everything is wonderful! Brahms especially for inside, and giving you a special feeling a little bit holy sometimes. There are so many tragic things in the world... When you listen to Brahms, it gives you a very positive feeling."

Daniele Gatti, conductor:"While remaining respectful for a certain tradition, you can still try and find different angles to a piece and so make it sound new. If our fellow work on the scores enables us to bring out something different, of course the audience is quite free not to appreciate it. Still, it's important that they know that our service to his art is absolutely true. In fact, I believe I'm one of those musicians who dare to take risks, but for me, this is like a moral duty for my profession."