Music Begins with Listening: A Chat with Lahav Shani

Thursday, 20. August 2026

Recently, Lahav Shani has taken up the post of the Munich Philharmonic’s new principal conductor. Born in Tel Aviv in 1989, the musician began his career as a pianist and double bass player before turning to conducting. Shani gained international recognition in 2013 when he won the prestigious Gustav Mahler Conducting Competition in Bamberg. In this interview, he reveals which score he first learnt by heart as a teenager and what he particularly values about the Munich Philharmonic.

Portrait of the conductor. — Lahav Shani was principal conductor of the Rotterdam Philharmonic Orchestra from 2018 to 2026 and has been the Israel Philharmonic Orchestra’s music director since 2020. Copyright: Co Merz

Lahav Shani, you have already conducted the Munich Philharmonic on several occasions and have even been on tour with them. What do you consider special about this orchestra?

The Munich Philharmonic combines an exceptional musical tradition with a great sense of openness. The orchestra has a strong identity and has been around for a long time, yet remains ever willing to break new ground. This combination is quite special, and I really appreciate that. The musicians truly listen to one another, and this makes for spirited, spontaneous performances and some incredibly beautiful musical moments.

“When the audience closes their eyes, they must have exactly the same experience as when their eyes are open.”

You are a pianist and a double bassist. Does this affect the role you play at the conductor’s podium?

I believe it does. As a pianist, you often have to engage with the entire score and think in terms of harmony. The double bass, on the other hand, gives you a feel for the foundation of an orchestra – for rhythm and tonal balance. In the end, though, I don’t try to conduct as a pianist or a bass player. My role is to listen to everyone and to create a space in which the orchestra can breathe and play together.

View from the stage into the auditorium, you can see the conductor, strings, a grand piano and pianist. — Copyright: Tobias Hase

Portrait of the conductor Lahav Shani. — Copyright: Co Merz

Daniel Barenboim was an early supporter of yours. What did you learn from him that you cannot learn from sheet music?

I have learnt so much from Daniel Barenboim. But above all, he showed me that music is never just about playing the right notes or having perfect technique. The important thing is to bring them to life together with the orchestra.

What has been the bravest decision you’ve made in your career so far?

I don’t know whether it was particularly brave, but looking back, entering the conducting competition in Bamberg really did change everything. It never even occurred to me that I could, or even wanted to, win. I just wanted to see how a competition works and to make some music. And that’s what I continue to strive for: making decisions not for strategic reasons, but out of conviction.

As an artist, how do you deal with political and social conflicts spilling over into the concert hall?

We do not live outside society, so naturally conflicts do not stop at the doors of a concert hall. At the same time, I believe that music cannot solve political problems; that is a job for politicians. But music does teach us to listen to one another and share experiences without everything being judged straight away. Especially in difficult times, this can be a great source of strength. Music reminds us that, despite our differing opinions, we can still feel a sense of togetherness.

“My aim is to keep Munich’s musical tradition alive and to develop it further.”

A brief preview of the coming season: What are you most looking forward to?

The planned programme actually says a great deal about this unique relationship between the Munich Philharmonic and myself. “Sacre” was the very first score I learnt by heart; I was 14 at the time. Then I was determined to perform a piece in Hebrew, and I regard the Chichester Psalms as Leonard Bernstein’s most beautiful piece. And then the wonderful Martha Argerich will perform Ravel’s Piano Concerto in G major. We also performed this piece four years ago when I first appeared as a guest conductor with the Munich Philharmonic.

How do you intend to shape Munich’s cultural landscape?

My aim is to keep Munich’s musical tradition alive and to develop it further – with due respect for its history, but also remaining open to new ideas. And I hope that we can reach everyone in this city. We are part of this city and would like to invite as many people as possible to become part of our musical community.