By Peter Allsop
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I performed, with Jimmy at the piano, the Bach Brandenburg Concerti nos. 2, 4, and 5, recording 2 and 5. I also did the Mozart Flute Concerto no. 2 in D Major, and the Telemann Suite in a minor for ﬂute and strings. The orchestra had a large recording schedule with Levine during that year, which is described in chapter 10. His career expanded prodigiously in the ’80s, with engagements throughout the world, notably at the Bayreuth Festival and in Berlin and Munich. We were pleased that an American was ﬁnally getting noticed, as Leonard Bernstein was no longer around.
Matthew’s. It was only a shell, the interior completely shattered. On another, later, trip we found that the inside had been reconstructed, unfortunately not in the old style of the exterior, but with a new, splashy look. There must have been a lot of history connected to it, as it became popular with tourists, so much so that in the late ’90s they were charging admission to enter! When we went past the Russian guards at Checkpoint Charlie we had to buy East German marks. I spent a few on some music at a shop, and John and I had a bit of lunch in a Bierhaus.
I gave a master class in Osaka for a group of ﬂutists in their twenties. I tried to make the point that the notes and a lovely sound were just the beginning of music making. One has to play the emotion. If there is no story, as there is in an opera or a symphonic poem, then the player has to make one up to give the performance interest. If it is to be tragic, I suggested that they imagine they are in a café and have ordered sushi. When it comes to the table, IT HAS BEEN COOKED! Tragedy unbounded.
Arcangelo Corelli by Peter Allsop