Arnold is ‘one of the rare conductors who not only possesses a flawless technique, but also inspires the orchestra, giving the individual musicians creative freedom’.
In the Amsterdam Concertgebouw, Arnold conducted with authority and all of his gestures spoke of emotion. He immediately took listeners to higher atmospheres.
Arnold immediately created a great musical tension and thrilling atmosphere. He built the work in a magisterial way.
'On the podium Maestro Arnold stresses seriousness and tradition. He communicates clearly, and with a great sense of style.'
Music is intangible. It has no fixed mass and no fixed forms. It cannot be viewed, displayed, or touched. Capturing it is like hammering a nail into a fountain. Despite the technical character of music – even reading a score requires considerable knowledge and experience – what happens is not exact. Anyone looking for precision loses track of what is going on. And that’s what it is about: what is going on. Music is movement; it is making gestures. Music is the metrical unfolding of time. It originates in invisible connections between the parts of the musical material. A score sets down a large number of items in a complex unit of regulations. A conductor must then set free what has been set down. He has to set things in motion. He can never boast about the past. His choices are always fresh. A conductor expresses his views in the transitory medium of time. In a way that is difficult to describe, the space between the notes is more important to him than the notes themselves. Even when he knows every note thoroughly, he can break new ground or get lost in known territory.
Luuk Reurich, Hans Vonk - A Searching Conductor