BEHIND-THE-SCENES ON TOUR IN MUNICH
Take a trip to Munich, Germany with the Israel Philharmonic in this behind-the-scenes video, created by IPO Principal Bass Clarinetist Jonathan Hadas. Hear from him about the experience of international touring, his favorite memories with the IPO, and what made this trip to Germany extra special in an exclusive interview below.
Interview with IPO Musician Jonathan Hadas
My position in the orchestra is Principal Bass Clarinet and Second Clarinet, and I joined the orchestra in 2010 -2011 season.
What is one of your earliest musical memories?
One of my earliest musical memories is from when I was around 12, playing my first solo with a chamber orchestra. I remember my whole family was there—my parents, sister, and grandparents—all sitting in the audience. I’m sure I was nervous at the time, though I don’t remember the details of how I played. What I do remember is the feeling of being on stage for the first time like that, knowing the people closest to me were watching. Looking back now, it’s a really sweet memory—something small, but meaningful. I think that moment stuck with me because it was the first time I felt what it means to share music with others, not just practice it.
What is one of your favorite memories from your time with the IPO?
Two memories come to mind—one terrifying and one unforgettable.
The first time I ever played bass clarinet in an orchestra was actually with the Israel Philharmonic, right after I won the audition. And it wasn’t just any concert—it was Mahler’s First Symphony at La Scala in Milan, conducted by Zubin Mehta. I’ll never forget that feeling. To say I was nervous would be an understatement. What’s funny is that today I don’t think of that piece as particularly demanding, but back then, everything felt huge. That moment really marked the beginning of everything for me.
On the other end of the spectrum, one of the most meaningful projects I’ve done with the orchestra was performing Verdi’s Requiem under Riccardo Muti. The level of music-making in those concerts was extraordinary—intense, focused, and incredibly moving. It was one of those rare moments where everything aligns, and you feel like you’re part of something much larger than yourself.
Tell us about the experience of an international tour.
An international tour can be both exciting and demanding. The preparation starts well in advance—usually, we’ve already played the program at home, so it’s more about maintaining your level, being familiar with any changes, and making sure you’re ready to adapt quickly once you’re on the road. Personally, I always double-check that I’ve packed all the essentials—reeds, tools, spare parts—since replacing anything on tour isn’t always easy.
Travel days are often long. There’s a lot of waiting around—airports, hotel check-ins, bus rides. It’s not glamorous, and jet lag can hit hard depending on where you’re going. But there’s also something nice about being with the orchestra outside of the usual routine. You end up spending more time together, which makes the group dynamic stronger.
Rehearsals on tour are usually short and to the point. You don’t have time to go into deep detail—most of the real work has to happen beforehand. The biggest challenge is adjusting to a new hall each night. Every space has its own acoustics, and you have to figure that out quickly, especially as a wind player.
Performances themselves can be really special. There’s something about playing for an audience that doesn’t hear you regularly—they’re curious, attentive, and the energy in the hall is different. You also tend to hear your colleagues differently in a new setting, which keeps things fresh.
Outside of the music, there’s not always as much time to explore as people might think. Sometimes you get a few hours to walk around or grab a bite, but often the schedule is tight. That said, some of the best moments are the spontaneous ones—meals after the concert, late-night conversations, running into something unexpected in a new city.
It’s intense, but it’s worth it. Touring forces you to stay sharp, be flexible, and connect with people—both your fellow musicians and the audience—in a different way than you do at home.
What made this tour to Munich so special?
The Munich tour was unlike any other tour we did before. It wasn’t just a concert—it was a deeply emotional and symbolic event. Performing as part of an Israeli orchestra, side by side with a German orchestra, in Germany, to mark 80 years since the end of World War II—that’s something that would have been unthinkable eight decades ago. And yet, here we were, standing together on the same stage. That alone was incredibly powerful.
The program itself added another layer of meaning. We performed a piece by the Israeli composer Tzvi Avni, who escaped Nazi Germany as a child. He was there with us in Munich for the performance, and that moment—playing his music, in that context, in front of him—was unforgettable. The second half of the program was Mahler’s Sixth Symphony, a monumental work that speaks to struggle, fate, and the human condition. It couldn’t have been more fitting.
What also made this experience unique was the collaboration. This wasn’t a typical joint concert where each orchestra plays a part—we truly shared the stage, 50-50, sitting side by side. Winds and brass players even rotated between movements. Professionally, it was fascinating. Each orchestra has its own traditions, sound, and way of approaching the music, so the first rehearsal was full of curiosity—everyone listening closely, not just to blend, but to learn from one another.
It might sound like a cliché, but music really does have the power to bridge cultures. By the end of the week, so many friendships had formed—across languages, histories, and backgrounds. Personally, I found it incredibly inspiring, and I’m already hoping this collaboration happens again—maybe next time on our home stage in Israel.
AFIPO is able to provide funding to the Israel Philharmonic for international touring initiatives because of donors like you—thank you!
Photos by Jonathan Hadas
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