Mr Brönner, what is it like playing indoors again after a long break due to the pandemic? Do you feel the audience vibrate?
Christian Riethmuller
Editor in the Rhein-Main-Zeitung.
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You don't really trust the peace yet.
And I look at a lot of masks from the stage.
Thanks to the sophisticated hygiene systems in the philharmonic halls and concert halls, that will change.
One thing must not be forgotten: the concert industry has not been the super spreader.
But she suffered greatly.
You spoke up in autumn 2020, pointed out the precarious situation of musicians and organizers and thus caused quite a stir. Do you have the impression that the situation in the industry has improved? Not only can you report on your own projects, but as a university teacher you also have an eye on the next generation of students.
The students have at least the protected area of the university.
For everyone else, there have been many offers of support over the past two years, but these are distributed very unevenly.
The situation for solo self-employed in the field of stage art is still not very relaxed.
There is still a lack of understanding that a person who has his instrument and two feet, is self-governing and self-organized, does not live on light, air and love alone.
It's still not widely known how this industry works, and that's actually not flattering for the music scene.
This is neither associated with being organized nor with the image of a job that someone does for a living.
How has your personal rehearsal life been in the past few months? The outstanding soloist Till Brönner does not play alone, but with a band or orchestra.
We are still experiencing very careful testing that has become a matter of course.
That's well organized.
And I'm optimistic that the situation will ease up a bit.
Did the pandemic and the associated restrictions have an impact on playing together in music? Trust is built in the rehearsal process.
The togetherness has even grown, and trusting other musicians cannot change a pandemic.
On the contrary, there were touching scenes behind and on stage, because you can finally make music together again and pursue something you love to do.
Nevertheless, the signs for me are to be careful, because everything can repeat itself.
Because in general one has to say that the pandemic came at a time when the income opportunities for creative people were not at their peak anyway.
We have the problem that current copyright law and the exploitation by the streaming services will ensure that music can no longer be recommended to a newcomer as a desirable professional field.
People now have the feeling that music comes out of a faucet that you turn on.
This attitude is a big problem.
In your opinion, how is the young European jazz scene doing? Are you following what's going on there? Jazz is hip again, which is shown not least by the pulsating scene in London.
I was never worried that there might not be any more young artists.
But I occasionally wonder how a young audience becomes aware of this music.
Because unlike in my youth, when jazz was brought to you via the public service media or your parents, whether you wanted it or not, this music is far away today.
At least the people who come to college at the age of 18, 19 or 20 grew up with completely different music.
It's often family connections that arouse interest, it's parents who make music themselves and want their children to experience it too.
So I find it amazing that, despite today's formatted media offerings in the field of music, there are still many people who play at an extremely high level.
But it's like before
a lottery game, with a band, an idea to go outside and find success.
Of course, young musicians today can make themselves heard in different ways and on many channels, which is what I always tell them as a university teacher: You have to start looking at platforms on which you can present your music.
You have to start selling your music.
You need a second smartphone to be able to film yourself from different angles, you actually also have to become photographers and cameramen to get noticed.
Video is now the medium that works best for introducing yourself.
And then there are the record companies.
Of course, young musicians today can make themselves heard in different ways and on many channels, which is what I always tell them as a university teacher: You have to start looking at platforms on which you can present your music.
You have to start selling your music.
You need a second smartphone to be able to film yourself from different angles, you actually also have to become photographers and cameramen to get noticed.
Video is now the medium that works best for introducing yourself.
And then there are the record companies.
Of course, young musicians today can make themselves heard in different ways and on many channels, which is what I always tell them as a university teacher: You have to start looking at platforms on which you can present your music.
You have to start selling your music.
You need a second smartphone to be able to film yourself from different angles, you actually also have to become photographers and cameramen to get noticed.
Video is now the medium that works best for introducing yourself.
And then there are the record companies.
You need a second smartphone to be able to film yourself from different angles, you actually also have to become photographers and cameramen to get noticed.
Video is now the medium that works best for introducing yourself.
And then there are the record companies.
You need a second smartphone to be able to film yourself from different angles, you actually also have to become photographers and cameramen to get noticed.
Video is now the medium that works best for introducing yourself.
And then there are the record companies.