A reader asks me about the impact and import of the appointment of a 28-year old to the music directorship of the Indianapolis Symphony Orchestra. First a story:
Many years ago, I had the opportunity to guest conduct the Saint Paul Chamber Orchestra on tour in upstate Minnesota while being considered for the assistant conductor position. Interesting program, including a "symphony" of overtures by Chabrier, Mendelssohn, Rossini and Mozart, Appalachian Spring and Mozart 39. The orchestra was fabulous, the concerts went well, and Bobby McFerrin was named assistant conductor. Now before we all raise our eyebrows (oops, too late…), let me offer this: Mr. McFerrin is one of the greatest musicians alive, in my book. What he does, be it jazz or Mendelssohn 4, he does brilliantly.
That said, I did wonder at the time if maybe, just maybe, non-artistic factors might have entered into the selection. It occurred to me that this appointment was clearly good for the "business" aspect of the SPCO; Mr. McFerrin would certainly generate both interest in the orchestra and ticket revenue. Was it also good for the art? I began to envision other matters of current artistic interest, not only pertaining to conductors, but to larger cultural trends as well.
For instance – and remember, this was in the early 90’s – what if you were a subscriber to the Minnesota Orchestra, and it was an icy Friday night in January? You had tickets to the concert, but you just didn’t feel like dealing with driving downtown when it was 10º below. Suppose as one of your subscription options, you could have the orchestra miraculously “beamed” into your home, available live on your television set? Would that be useful? Well, of course it would be; anyone who has ever tried to start a 15-year old Buick on a frigid winter’s night in the Mini-Apple would concur. But aside from being more convenient, would it add or detract from the orchestral experience? If it enhanced the home viewer’s listening pleasure, would it be a negative for an ever dwindling, Gore-Tex clad audience gathered at Orchestra Hall? Would it in fact eventually lead to a hall devoid of concertgoers, even if they did pay for and watch the event from the comfort of their living rooms? Would making it easier NOT to go to the hall ultimately be a positive or a negative for the orchestra, financially and/or artistically? Ultimately, was what we now call Pay-Per-View, like Bobby McFerrin,
a) Good for the Business and Good for the Art (GBGA),
b) Good for the Business but Bad for the Art (GBBA),
c) Bad for the Business but Good for the Art (BBGA), or
d) Bad for the Business and Bad for the Art (BBBA)?
Hence the matrix. It has provided over the years a useful departure point for many cultural discussions among friends and colleagues. So let’s play with this concept and visit the subject of “Wunderkind” conductors tomorrow. While we are thinking about it, let’s consider some historical perspective:
Mahler was named music director in Kassel at the age of 23. At 26, he took over a Ring production from Nikisch; at 28, took over the Royal Opera in Budapest.
Bernstein – at 26, took over for Walter at the New York Philharmonic Society, began his affiliation with the Israel Philharmonic at the age of 29.
Spohr – took over the court position at Gotha at the age of 21, led the orchestra at the Theater der Wien at 29, Frankfurt at 33.
Ozawa – won Besançon at 24, was music director of the Ravinia Festival at 29 and of the Toronto Symphony at 30.
Salonen – Principal Guest of the Philharmonia at 27, principal conductor of Swedish Radio Symphony Orchestra at 26.
Bruno Walter – at 24, was chief conductor at Unter den Linden, at 25, became Mahler’s assistant in Vienna, conducting the local debut of Aïda.
Karajan – at 21, conducted Salome in Salzburg, became the youngest Generalmusikdirector in Germany at the age of 27.
More tomorrow…back to work!
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