Bar 20 - Cadence and Fermata

As in any good classical symphony, we've begun with a slow introduction that sets the mood, establishes recurring motives, draws in the reader and is to be followed by a more active discussion of the most intriguing topics.  Before proceeding with the Allegro, let me offer my own view of the Indianapolis situation:

I was there, at Orchestra Hall, for Esa-Pekka Salonen's debut with the Minnesota Orchestra when he was in his early 20's (Duka's "La Peri"), as I was when my friend, Antonio Pappano, began his meteoric rise from the New York City Opera to the Royal Opera House, Covent Garden, as I was when Xian Zhang arrived in Cincinnati and effortlessly joined me in a reading of Debussy's Petite Suite (later going on to win Maazel/Vilar), as I was when Seiji was a fellow at Tanglewood in 1960, when I was all of four years old.  There is genius in our business, and one feels blessed when one is lucky enough to witness it.  I have not seen the young Maestro appointed to the ISO, but I did run into a musician from the orchestra two days ago who, beaming, assured me that Urbanski's appointment marked a historic moment for that orchestra.  

It will be noted that, traditionally, conducting appointments operate like pendulums; if the outgoing music director was a taskmaster, the incoming might be more user-friendly; if the old was, well, "older," the new might well be younger.  If the incumbent was flashy, the successor might be more discreet.  It is certainly possible to identify equally gifted Maestros with differing approaches to the job.  It is also clear to me that, although evaluating the level of a conductor is more complex than that of a pianist (most audience members don't see, hear or recognize the conductor's "wrong notes"), ultimately the Maestro who can't cut it isn't reengaged; the business simply can't afford someone who isn't that good or someone who can't maintain the rigors of the career (and it is brutal, this career on that level).  None of the younger generation have faked their way to their present positions, but there some truth in Milstein's remark to the effect that young talent is only useful because it gets old; it will be interesting to observe these talents as they mature in life and music.

In summary, my best wishes go out to Maestro Urbanski and the excellent Indianapolis Symphony Orchestra as they embark on a new artistic/musical path, and I look forward to cheering them on for years to come.  A hopeful GBGA.