The "International Mahler Orchestra", which I have founded in London in 2006, has been resident in Germany since 2008. The IMO was founded by myself and by several colleagues, involving musicians of 30 different countries, with the intention of creating a different orchestral environment and an alternative to the traditional orchestral system.

[ Yoel Gamzou | Conductor, International Mahler Orchestra ]

The orchestra unites very fine musicians from many major European Orchestras (ranging in age between 20 and 70), who have gathered a lot of experience in the highest level of professional orchestras, together with young people, mostly on the verge of very promising chamber-music and solo-careers, of the highest possible calibre - both musically and humanly. Our more experienced members find great interest in sharing their experience with the younger generation, and playing in a context which is very different to what they are used to in their "normal life" of "Dienst". Our younger colleagues, who would normally not play in an orchestra (most of them aspiring, as I said above, to solo-careers), are delighted to play together the orchestral repertoire (with a strong emphasis on the works of Gustav Mahler, as the name of the orchestra may suggest) on the highest possible level, with people who all share the same ideals and have the same human values and goals in mind, AND in a very different way. 

The idea behind the orchestra is first of all to put an equal e mphasis on the highest musical level possible as well as on very strong human values. We aim to create the most democratic version possible of an orchestral situation - our members are all equal, and we all have an equal voice. All decisions within the orchestra are entirely democratic (although I am the conductor, I have an absolutely equal voice to any other member), we are all equally paid (all musicians, conductor, soloist - we all get the same fee, as we believe that fees in music are in any case symbolic to the many years of work and passion we have all invested - and therefore do not wish to make any differentiations), and we try to entirely abolish any form of hierarchy within the orchestral structure.

Although it is necessary, out of sheer practicality, that the conductor leads the rehearsals, it is extremely important for us that all musicians are involved in the artistic process and that the interpretation chosen and developed does not only reflect the dictatorial wish of the conductor, but expresses the voices of all musicians involved.

Although I do believe that the conductor must have a very clear idea about the piece, and must lead the rehearsal with this idea in mind, I strongly encourage all our members to prepare themselves with the full-score as well as with their individual part, and I thoroughly believe in encouraging an open, active and individual discussion and exchange on the piece at hand. In our orchestra, every member has the right as well as the responsibility to be involved in the process of music-making - whether it is the principal oboe or the last-desk 2nd violinist - we are all equal and we try to maintain an open exchange on all matters, so the result at hand, although embodying the concept of the conductor (who inevitably knows the piece best, and spent most time with it), can honestly and sincerely represent the voices of every single musician. It is my wish and goal that at the concert, every single musician plays for music, and can stand behind what he is playing (even if the result cannot represent the interpretational choices every single musician would make, he or she must be able to stand behind the general musical and spiritual message we are sending) - and not only executes a "dienst" and obey to orders.

I strongly believe that no great music-making can happen when hierarchy dominates the atmosphere - I do not believe that a conductor is always a better musician than his orchestra members, just because he is the conductor - unfortunately, in many cases in our times, it is the opposite. We are trying to create a habitat where it is about music, not about our egos and positions - and where music can create itself through us and be born again in every single concert.

We are going to play in the end of November Mahler's 10th Symphony - his most enigmatic and to my opinion greatest work - in 6 German cities. (We are going to play my own version of the unfinished Tenth - a realization/elaboration I worked on for 8 years and premiered last year in Berlin, also with the IMO). 

The dates of the tour

21.11 - Concert Kurhaus Wiesbaden 

22.11 - Concert Philharmonie Köln

25.11 - Concert Philharmonie Berlin

28.11 - Concert Michels Hamburg

30.11 - Concert Centraltheater Leipzig

1.12   - Concert Liederhalle Stuttgart

The young Israeli-American conductor Yoel Gamzou started his musical education with the cello, before committing himself to orchestral conducting at the age of 12. In 2006 he founded the International Mahler Orchestra, whose music director, artistic director and chief conductor he is. In earlier years, Gamzou conducted orchestras including the Israel Philharmonic and the Bamberger Symphony. In addition to his commitment to the International Mahler Orchestra, he became Principal Conductor of the Neue Philharmonie München. In 2010, Gamzou gained international recognition when his own completion of Mahler’s unfinished 10th symphony was published by Schott Verlag. Premiered in the Berlin synagogue, Gamzou’s version was highly acclaimed by Mahler experts, press and audience.