Meet Friedemann Breuninger: the concertmaster of Le Concert Olympique

In the orchestra, the leader of the first violins also fulfils the role of concertmaster. A crucial function that Friedemann Breuninger has been performing with pride and enthusiasm in Le Concert Olympique since 2011. We delve into his experiences and insights in this vital position on the eve of a splendid chamber music concert where he will once again take the lead.

Good evening, Friedemann. As captain of the first violins, you are the concertmaster of the whole orchestra. What exactly does this important job entail?

Friedemann: The concertmaster has to function as the link between the conductor and the orchestra. So my job is to translate the signals that come from the conductor’s side and try to be as clear as possible in my way of translation. Of course, that does not mean that the other orchestra members are of less importance. Although I am the first piece in the chain, every piece of the chain is important.

Besides, as a concertmaster, I also try to establish a positive ambience within the orchestra so that people feel at ease and can play at their best. Fear and stress don’t help with performing, which is why it is very important to build an encouraging environment.

What a huge and beautiful responsibility at the same time! Do you experience stress during concerts because you know that many musicians are looking at you and relying on you?

Friedemann: Yes, I definitely do, but so do the other musicians. We all feel some stress during concerts because we want to play our best and perform at the highest level. Although there is always a kind of pressure, it is important to notice that there is such a thing as good stress and bad stress.

I call the good stress ‘eustress’. It is the adrenaline that helps you be alert, attentive and in the moment. ‘Distress’ is the bad stress. This kind of stress is linked to fear, lack of confidence, doubts and feeling uncomfortable. So, although there is always some stress, it is the responsibility of the artist to be on the side of the eustress and to use this good stress to everyone’s benefit.

You have been playing in Le Concert Olympique for 13 years now. How did you get to know the orchestra and conductor Jan Caeyers?

Friedemann: I have known Jan for a very long time. Actually, I was one of the first to join the orchestra. I met him in 1999. Jan came to Spain to conduct the “Orquesta Ciudad de Granada” I was leading at the time. We played Mozart and there was good chemistry between us. He told me about his future plans to start an expert orchestra focused on the work of Beethoven.

The years passed by, but Jan is a great visionary: he doesn’t just have vision, he makes it come true. When he asked me to lead the orchestra, I did so without hesitation. We gathered for the first time in 2011 and played Beethoven’s First Symphony. The start of a beautiful musical collaboration.

Since then, you have never stopped playing with Le Concert Olympique. What do you like about playing in this orchestra?

Friedemann: Everything! I like the way we play, I love our dedication to the music and I admire the endless energy of our conductor. Jan Caeyers always gives his everything. His attitude provides a lot of energy that transmits to everybody in the orchestra. Again, I see myself in the position of concertmaster as the link to bringing this energy to the whole orchestra and opening the communication channels. These channels in our orchestra are super open, by the way. We communicate not much in words but in gestures. We breathebreathe together and speak the same body language.

You must have amassed an impressive collection of concerts. Which performance with Le Concert Olympique will you always remember?

Friedemann: Indeed, there are many wonderful memories we made together. For example, I am thinking of the Ninth Symphony of Beethoven we performed this year in May in the Queen Elisabeth Hall in Antwerp, or the Missa solemnis we played in the Berliner Philharmoniker in Berlin. With Le Concert Olympique we have already had many wonderful occasions to play in Germany, Austria, Belgium and the Netherlands.

Each performance has its own flavour. I also like it when we play in smaller towns. Even though the stage is smaller, everybody still gives everything. A smaller audience is no excuse to play less. All the musicians in the orchestra are so committed, and Jan himself is 100% engaged.

Do you have one last funny anecdote you would like to share with us?

Friedemann: Absolutely. Once, after a concert, we came into our hotel, laughing and bringing a funny ambience with us. Suddenly a guy asked: ‘Are you part of an orchestra?’ to which our double bass player replied: ‘Yes, we are a youth orchestra for adults.’ A great answer that sums up the essence of our group perfectly: we are no longer eighteen, but our orchestra has a very young spirit. I love that.

That is a beautiful saying to conclude with. Thank you, Friedemann, for your interesting insights and time. We wish you the best of luck with the upcoming concerts and look forward to listening to them all!