 Christoph Poppen
Portrait
Contents Prelude to new |
Under the spell of a bow Christoph Poppen was born in Muenster and grew up in Bonn. Through his family - his grandfather was assistant to Max Reger, active church musician, conductor and music director of the Heidelberg University – the world of music was brought to him at an early age.
C.P. with the wife of his violin teacher Gustav Mikulai (piano) at his first winners' concert in 1966. |
At age 14 whilst attending school, he began his violin studies with Kurt Schaeffer at the Robert Schumann Hochschule in Duesseldorf. At the age of 18, he partook for the first time, a course with Nathan Milstein, who regularly accompanied him, as teacher and mentor during the subsequent years. C.P.: Until today, Nathan Milstein is still my greatest idol. No one has influenced me more in my instrumental thinking as he did. At that time, the entire world of younger violinists met at his wonderful annual master classes in Zurich. In addition to this I had the good fortune, to visit him at his Chester Square house in London to partake in extensive private lessons. At age 21, Christoph Poppen completed his concert exam. On the advice of Nathan Milstein, he travelled to the United States for the first time, continuing his studies with Oscar Shumsky. Shumsky (1917-2000), whom Leopold Stokowski once referred to him as |
“the most amazing genius I've ever heard" and whose travelling companion David Oistrakh revered him as one of the in addition to his work as a soloist, chamber musician and conductor, a devoted teacher. C.P.: Oscar Shumsky was a teacher - unlike Milstein – who led his students in almost pedantic steps. I am greatly indebted to him. My students today, still benefit from the exercises givent to meby him at that time. Other master classes taken, e.g. with Sándor Végh, helped complete Christoph Poppen’s musical background training.
Musica accomplishments At the early age of 16, Christoph Poppen founded his String Quartet, which was initially known as the Juventus Quartet. This was strongly supported by his Duesseldorf teacher Kurt Schaeffer, himself, an enthusiastic quartet player. |
Eroberung C.P.: The quartet was for me a kind of fate, and it provided the best artistic, and learning experience that I, or anyone else could ever wish for. You constantly had three highly critical colleagues at your side, and at the same time friends, none of whom would ever overindulge you. That way I have learned to tra and be aware of everything, and to lead without imposing myself on others. This type of leadership is still my ideal method of expressing my ideas on others, especially in terms of directing. I admire conductors such as Claudio Abbado, who also follow this approach. In 1978 he founded alongside Harald Schoneweg (violin II), Hariolf Schlichtig (viola) and Klaus Kamper (cello) the Cherubini Quartet, which eventually went on to conquer all the major stages of the world with its impressive interpretations of the quartet literature of the Classical and Romantic periods. In 1981 they won the Grand Prix at the International String Quartet Competition in Evian / France. |
The Cherubini Quartet - Hariolf Schlichtig,
C.P.: Playing the string quartet was then what I called the absolute centre of my life. We rehearsed more or less "around the clock". Within some seasons, we performed more than one hundred concerts. Although I also took to the stage for many solo concerts, there was no doubt, that playing quartet |
always took precedence. This was a very intense but enjoyable time! 1984 Christoph Poppen was awarded with the "Advancement Award of Nordrhein-Westfalen for Young Musicians” in the music department.
Grasping the baton In the same year, 1984, Christoph Poppen travelled again to the U.S. - Bloomington/Indiana - to study with Josef Gingold. Gingold (1909-1995), American violinist and educator, was one of the most influential violin teachers in the U.S. of his time. C.P.: After those very intense seven years on stage, I felt the burning desire to be a student again. In retrospect, one would describe that joyful year that I spent with Joseph Gingold, as a sabbatical. Bloomington was called the "El Dorado" of the violinist world at that time, and Gingold, |
Taktstock after the death of Ivan Galamian, the most coveted teacher in the world. He taught from morning to night and passed on the many experiences he had collected as concertmaster under George Szell in Cleveland Orchestra, to his students. “If you do not have patience, do not become a pedagogue!” - One of his famous quotes we heard quite often. To this day, there still exist some wonderful recordings of his String Quartet, in which he played together with Oscar Shumsky, William Primrose and Harvey Shapiro. Also, during the time in Bloomington, a new passion was becoming noticeable: Parallel to his original studies, Christoph Poppen became increasingly involved with conducting lessons. C.P.: Actually, my interest at that time was purely musical nature, and there was never such a thing as a decision to switch from violin to conducting. Indeed, some coincidences played a major role, especially when I suddenly had time to study scores in Bloomington. |
New instrument - the baton At that time, I had no idea, that I would soon spend my life on that side of the profession. However, the psychological step of a Quartet-violinist to an Artistic Director of a chamber orchestra is not that great. Therefore, I did not hesitate for long when I was first asked to take over the challenge of leading and conducting a chamber orchestra. And yet, still, I reflected myself as a leader, as a "primus inter pares", more than as a "Maestro". |
Until today, my main aim is to make even a symphony orchestra sound as a great chamber music ensemble, with a lot of personal responsibility, for each individual musician. In 1989, Christoph Poppen took over the “Chamber Orchestra of Detmold”, led by Tibor Varga, which was then called "Detmold Chamber Orchestra". He spent seven years at the helm of the ensemble. C.P.: Eventually, at the beginning of a season, I noticed with astonishment that my calendar showed more appearances as conductor than as violinist. At that point I started to think seriously and I decided to affirm this development. One of my first mentors was the famous Sir Colin Davis. Later, I took lessons from the legendary Jorma Panula, and to this day we continue to share a warm friendship. |
In 1995 Christoph Poppen was appointed conductor and artistic director of the Munich Chamber Orchestra. Internationally highly respected, with its distinctive programs and based on a contrast between contemporary classical works as well as numerous commissioned works, he gave a new profile, in a short time, to the orchestra. |
Also, during this time, Christoph Poppen was often invited as a guest conductor at home and abroad.
With 13-year-old student and soloist Veronika Eberle and the Munich Chamber Orchestra (2001) C.P.: Changing from Detmold to Munich was a crucial step, if only because one is naturally exposed to all kinds of comparisons in a city like Munich. |
Those ten or eleven years at the MCO were a very joyful era, and I am still connected to the ensemble in a warm, reliable friendship. In the end, I had to face the conscious decision to leave, simply because my longing for a larger symphonic repertoire had become too strong. In August 2006, Christoph Poppen took over the position of chief conductor of the Radio Symphony Orchestra Saarbruecken. One memorable highlight of this first season was the open-air concert with pianist Hélène Grimaud on the Island of Mainau. Among all his important tasks, the most important one started one year later: the merger of Radio Symphony Orchestra Saarbruecken with the Radio Orchestra Kaiserslautern. Thus, Christoph Poppen became Principal Conductor of the "Deutsche Radio Philharmonie Saarbruecken Kaiserslautern" from 2007 until 2011. |
C.P.: The challenge was: Find the right person for this special job. That merger was of course a challenge of the highest quality. I have accepted it and faced it. Generally, when it comes to conducting, I see two poles that interest me: the music itself of course, but also to work with people and to take over responsibility for a human community. In Saarbruecken, I had, in terms of the repertoire, again very different ways, but in the end, the extension towards the symphonic was logical. |
Musikfestspiele Saar mit Solistin Juliane Banse, der Deutschen Radio Philharmonie und dem Korean National Choir (2009) Seit 2007 besitzt die „Deutsche Radio Philharmonie Saarbrücken Kaiserslautern“ (DRP) eine außergewöhnliche Repertoire-Vielfalt: Nicht nur die Klassiker des 19. und 20. Jahrhunderts, sondern auch wiederum die Neue Musik stehen im musikalischen Mittelpunkt. Mit der Einführung der Institution des „composer in residence“ setzte |
Christoph Poppen einen weiteren Akzent während seiner Amtszeit. Die nächste Auszeichnung ließ nicht lange auf sich warten: 2010 wurde Christoph Poppen der alle zwei Jahre vergebene „Kunstpreis des Saarlandes“ zugesprochen und von Ministerpräsident Peter Müller überreicht. Zuhause in der Welt Christoph Poppen ist weltweit ein gefragter Gastdirigent und hat auch während der Engagements in München und Saarbrücken regelmäßig international gastiert. Ob Amsterdam Sinfonietta, Bamberger Symphoniker, Detroit und Indianapolis Symphony Orchestras, Estonian National Symphony Orchestra, Münchner Rundfunkorchester, New Japan Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Symphony Orchestra of India, Stuttgarter Kammerorchester oder die Wiener Symphoniker... er ist regelmäßig in vielen musikalischen Zentren weltweit zu Gast. |
C.P.: Ich genieße im Moment sehr die Freiheit, ohne feste Bindung an ein Orchester gastieren zu können. Es ist wunderschön, regelmäßig zu einem Orchester zurückzukehren, es ist aber auch spannend, erstmals an einem Ort zu arbeiten, sich neue Territorien zu erschließen und neue Menschen kennenzulernen. Wo ich Musik zum Klingen bringe ist für mich nicht so entscheidend. Überall wo ich meine künstlerischen Erfahrungen sinnvoll einbringen kann, fühle ich mich wohl. Das ist auch immer wieder in Asien, wo ich sehr gerne gastiere. Ich habe das Gefühl, dass dort das worauf es mir ankommt sehr intensiv aufgenommen und umgesetzt wird.
Vor dem großen Applaus - Mit der Kioi Sinfonietta Tokio |
zuhause In den vergangenen Spielzeiten hat sich Christoph Poppen auch als Operndirigent einen herausragenden Namen gemacht. Nach erfolgreicher, musikalischer Leitung der konzertanten Aufführung von Bizets „Die Perlenfischer" an der Oper in Frankfurt/Main im Jahr 2009 folgten Anfragen von internationalen Opernhäusern: Im selben Jahr dirigierte er die szenische Produktion „Sing für mich, Tod", anlehnend an die Biografie des Komponisten Claude Vivier mit der musikFabrik NRW bei der RuhrTriennale in Gelsenkirchen. C.P.: Die Oper hat mich immer fasziniert. Als ich 17 oder 18 war habe ich Margaret Price als Fiordiligi gehört und war so begeistert, dass ich ernsthaft dachte, das Schönste wäre es, jetzt bald zu sterben und als Sängerin wiedergeboren zu werden! Das hat nicht geklappt. Aber immerhin habe ich eine wunderbare Sängerin geheiratet… Aber Spaß beiseite: ich arbeite sehr gerne mit Sängern, auch im Konzert. Die Oper ist natürlich ein ganz anderes Medium. |
Die Zusammenarbeit mit einem Regisseur, das Ineinanderfließen von musikalischen und szenischen Energien, das permanente Reagieren auf unvorhersehbare Umstände - ein faszinierendes „daily life“. Am Tiroler Landestheater in Innsbruck dirigierte er zuerst Mozarts „Zauberflöte“, danach „La Clemenza di Tito“. Aufgrund der sehr erfolgreichen Zusammenarbeit übernahm er anschließend die musikalische Leitung von Rossinis „Otello“, im Februar 2010 die Premiere von Richard Strauss’ „Arabella“ und zwei Jahre später Giuseppe Verdis „Falstaff“ in einer Neuinszenierung von Brigitte Fassbaender. Der prämierten Neuinszenierung von Mozarts „Entführung aus dem Serail“ am Aalto Theater in Essen im Mai 2012 folgten auch in der aktuellen Saison zahlreiche weitere Vorstellungen. An der Oper Stuttgart dirigierte Christoph Poppen in der Saison 2012/13 die Neuinszenierung von Glucks „Iphigenie in Aulis“. |
Prelude to new With the beginning of the 2013/14 season, Christoph Poppen took on a four year assignment, as "Principal Conductor" with the Cologne Chamber Orchestra. The goal of which was of aligning the ensemble anew, heralding in a new era. – “Poppen returns home“ – adorned the headline of the Cologne based newspaper the “Kölner Stadtanzeiger“. In their first season, Poppen and the KKO had many successful guest performances at home and abroad, as well as in the Cologne philharmonic concert hall.
Kölner Kammerorchester |
C.P .: Previously, my calendar was full, thereby not allowing me any time for chamber orchestra performances. I was therefore pleased with the request from Cologne. With the passing of long time Principal Conductor Helmut Müller-Brühl, it is important for me, as Principal Guest Conductor, and now Principal Conductor to develop new formats, and to lead the orchestra away from the pure classical period, to the music of the 20th century. This is a very lively collaboration which still leaves room for other tasks and challenges. We have many interesting plans for the upcoming seasons! Furthermore, I would like to continue extending my repertoire by appearing with familiar soloists and orchestras. I also envisage, time permitting, more solo violin performances. In addition to his post in Cologne, Christoph Poppen guests in the current and upcoming seasons once again, with many famous symphony and chamber orchestras in Germany, Switzerland, Italy, France, Poland, and Greece. He also continues his successful collaboration with orchestras in Asia, including the Singapore Symphony, the Tongyeong Festival Orchestra, and the Hong Kong Sinfonietta. |
Auftakt C.P.: Zuletzt war in meinem Kalender kaum noch Platz für Kammerorchester gewesen, daher habe ich mich über die Anfrage aus Köln gefreut. Als Principal Guest Conductor in einer Situation wo es keinen Chefdirigenten gibt, derjenige zu sein, der dem Orchester in einer neuen Ära nach dem Tod seines langjährigen Chefdirigenten Helmut Müller-Brühl zur Seite steht, ist mir wichtig; neue Formate und Programmansätze zu entwickeln und das Orchester weg von der reinen Klassik hin zur Musik des 20. Jahrhunderts zu führen. Das wird eine sehr lebendige Zusammenarbeit, die auch noch Raum für andere Aufgaben lässt. Wir haben viele schöne Pläne für die nächsten Jahre! Und die fernere Zukunft... C.P.: Ich kann mir schon vorstellen, mit 80 oder 85 noch am Pult zu stehen und Bruckner-Sinfonien und Mozart-Opern zu dirigieren. Auf jeden Fall soll der Weg bis dahin bunt und vielfältig sein. Entscheidend ist, dass musikalische und menschliche Harmonie miteinander verbunden sind. |
Ich wünsche mir, dass ich eine freundschaftliche Beziehung zu meinen Orchestern haben darf und dass eine gemeinsame spirituelle Offenheit für Musik entsteht.
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