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Leading Tones Reflections On Music Musicians and The Music Industry Amadeus Slatkin Internationally Acclaimed Conductor
Leading Tones Reflections On Music Musicians and The Music Industry Amadeus Slatkin Internationally Acclaimed Conductor
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Copyright © 2017 by Leonard Slatkin
All rights reserved. No part of this book may be reproduced in any form, without
written permission, except by a newspaper or magazine reviewer who wishes to
quote brief passages in connection with a review.
Published in 2017 by Amadeus Press
An Imprint of Hal Leonard LLC
7777 West Bluemound Road
Milwaukee, WI 53213
Trade Book Division Editorial Offices
33 Plymouth St., Montclair, NJ 07042
www.amadeuspress.com
For my brother, Fred,
with love, appreciation, and music
Art! Who comprehends her? With whom can one consult
concerning this great goddess?
—Ludwig van Beethoven
I don’t think of all the misery, but of the beauty that still
remains.
—Anne Frank, The Diary of a Young Girl
For that matter, we’re all fools though we don’t know it.
—Plautus, Pseudolus
CONTENTS
You never know where life is going to take you. We begin with
dreams, and if we are lucky, a few of them come true.
For me, there was never a question of my career path. It was
music, music, music. With a family completely immersed in this
profession, I was surrounded by the best and the brightest in the
field. Occasionally people from other walks of life visited the Slatkin
house, but they were few and far between.
When my father suddenly died, I was just nineteen years old, and
my life changed. Not that we were close, but his influence on me
was profound. My musical hero was gone, and I ceased my
instrumental studies. I decided to become a teacher of English
literature.
Eventually I came back to the musical fold. But somewhere in the
back of my mind there were these little reminders of what might
have been. I began to write articles for magazines and newspapers.
At first they were amateurish and without a personal voice.
Experience and time helped me refine my style.
In 2012 my first book, Conducting Business, was published. Very
few people knew that I entertained an interest in the printed word,
and I did not think any publisher would be interested. Nevertheless,
it was received very well, by both the public and journalists, and had
stronger sales than usual for a book about classical music. Some of
those who encouraged me to write the initial work now wanted
more.
Leading Tones is the result.
It had never occurred to me that at least one more book was in
the offing. I thought the first tome was it; there was nothing else to
say. However, when I went back and began looking at the notes and
drafts for the first volume, I found that I had more ideas than could
comfortably fit into 300-plus pages.
This time around I have chosen to write about some of my favorite
collaborators, the state of the music industry, and odds and ends
that I hope you will find interesting.
Although Conducting Business contained chapters about some of
the people who taught or influenced me, it did not give me enough
opportunity to write about the many musicians who were so special
to work with. Whether it was Isaac Stern, Nathan Milstein, John
Browning, John Williams, or other luminaries in the field, setting
down reminiscences of these and other artists seemed a must. As it
was not possible to include everyone, I chose just six.
It has been my good fortune to have worked with some of the
greatest musicians on the planet. When I began my conducting
career in the late 1960s, there were still legends around. Sadly, I
never had occasion to collaborate with Horowitz, Rubinstein, Heifetz,
or Piatigorsky, although I heard them often and came close to an
engagement with each one. Still, I consider myself blessed to have
heard them as well as many other musical giants.
In this book I have also tried to define and consider some of the
difficulties that have been encountered by so many. Controversy has
always surrounded the artistic experience. It was my idea to write in
a way that encompassed every side of an issue, whether that meant
considering the perspective of female conductors, union leadership,
or the orchestral musicians themselves.
During the first part of the twenty-first century, the music business
underwent some radical rethinking as well as major paradigm shifts.
Some of these concepts were born out of economic necessity, but
equally important has been the changing mores of society. In some
areas we have become more accepting of the new, but in other ways
we are mired in convoluted rules and regulations.
Whether in the area of labor negotiations, audition procedures,
discrimination in the workplace, or any number of other topics, there
is still a long way to go in remedying the ills that confront us. Yes,
we are not as repressive as we were even twenty years ago, but
dichotomies and inconsistencies remain in how we conduct business
in the arts. Much of this seems at odds with the mostly liberal
thinking among artists that pervades the industry. However, it is not
always they who have the last word.
Most of what we do is appreciated by a select audience, one with a
bit of training that started with their childhood education. It is our
job, however, to broaden our reach and make what we do available
to as many people as possible. How we teach our children is crucial
to growing the arts.
As for actual music making, there are sections devoted to
programming and debuts, and even an attempt to choose ten pieces
I cannot live without as a conductor. Comparable to my take on the
issues confronting the industry as a whole, these selections are
highly subjective. They also provide a context in which to view my
musical thought process as it has progressed during my life as a
conductor.
I both love and hate top 10 lists. They provide a form of
entertainment that sometimes can be helpful in sorting out material
pertaining to one subject or another. Frequently they are annoying.
One must be wary of how they were put together and who was
overseeing the project. No such danger in my own compilations.
They are highly opinionated, filled with my own preferences.
As with Conducting Business, this book is written for the music
lover and not just musicians. A little bit of knowledge about music is
helpful but not necessary. There are few technical references, and
hopefully I have given contextual information where needed.
There are too many people to thank individually. But certainly this
book would not be possible if it were not for the diligent work by my
assistant, Leslie Karr. My editor was Lawrence B. Johnson, a
longtime music journalist and editor of the performing arts web
magazine Chicago on the Aisle. My wife, Cindy McTee, also aided in
uncountable ways during the editing process. Orchestras from all
over the world provided material that helped me compile a complete
overview of my work. And discussions with musicians, audience
members, and patrons of the arts kept me informed as to the varied
ways that people think about the cultural scene.
When my musical journeys began, I could not have imagined that
they would also encompass publishing words about music. But here
we are, two books later, and already the ideas for a third are swirling
around my head.
AN AMERICAN IN LYON
On this matter I’m inclined to agree with the French, who
gaze upon any personal dietary prohibition as bad
manners.
—Charles Dickens, A Tale of Two Cities
How does one sum up more than fifty years in the public’s eyes and
ears? At first I thought that just a series of lists, including orchestras
I have conducted, my music directorships, and world premieres,
would make the most sense. Collaborations that went beyond the
norm could be highlighted. Eccentricities and unusual encounters
might also be included. But by the time I actually started looking at
the sheer number of performances I had led, it was clear that all of
this needed more than a mere recitation of statistics.
It all started with pursuing a path that placed American music and
its composers in the forefront of my own artistic agenda. The
fostering of young talent and the joy of seeing so many of these
musicians grow and succeed has been very rewarding. And then
there is what seems like a limitless number of recordings.
But let me begin with the world premieres.
There appear to be at least 220, and that is only counting
orchestras with which I have had long-term relationships. I chose
not to include student or semi-amateur ensembles. Which pieces
made it past the first performances? What about their impact on my
own career? And which compositions meant the most to me?
Bientôt l'église surgit du sol, appuyée sur une crypte qui devait
recevoir les sépultures royales, et offrant aux regards l'aspect des
primitives basiliques. Elle pouvait avoir, nous dit un historien, deux
cents pieds de long sur cinquante à soixante de large[321]. L'intérieur
en était non voûté, mais lambrissé à la manière antique; de riches
mosaïques ainsi que des peintures murales en animaient les parois.
On y avait accès, du côté occidental, par un triple portique orné,
comme l'intérieur, de mosaïques et de peintures représentant des
scènes de l'Ancien et du Nouveau Testament[322]. A côté de l'église
s'élevèrent de spacieux bâtiments conventuels pour la demeure des
chanoines réguliers qui devaient la desservir. Un vaste territoire,
longeant les jardins du palais et allant d'un côté jusqu'à la Seine et
de l'autre jusqu'à la Bièvre, forma la seconde enceinte de cette
fondation vraiment royale. La plus grande partie en était occupée par
des closeries et des vignobles à travers lesquels circulaient
d'ombreux sentiers de noyers et d'amandiers chantés au douzième
siècle, en vers agréables, par le poète Jean de Hautefeuille. Le
douaire assigné au monastère était considérable: il comprenait
Nanterre, Rosny, Vanves, Fossigny, Choisy, et la terre connue sous
le nom de fief de Sainte-Clotilde[323].
[321] Viallon, Vie de Clovis le Grand, pp. 448 et suiv.
[322] Vita sanctæ Genovefæ, xi, 53 (Kohler): Miracula sanctæ Genovefæ; cf. du
Molinet, Histoire de sainte Geneviève et de son église royale et apostolique à
Paris, manuscrit de la bibliothèque Sainte-Geneviève, livre III, chap. ii.
[323] Du Molinet, o. c., livre III, chap. iii, suivi par les autres historiens de sainte
Geneviève. Le livre de du Molinet, resté inédit, est un travail excellent, qu'il n'y
aurait plus intérêt à publier toutefois, parce que la meilleure partie en a passé
depuis dans les travaux consacrés au même sujet.
Clovis ne vécut pas assez longtemps pour voir l'achèvement de
cette fondation grandiose; c'est Clotilde qui la mit sous toit et qui en
termina les dépendances[324]. Il paraîtrait toutefois, si l'on en croit le
chroniqueur parisien auquel nous avons déjà fait des emprunts, que
le roi put encore assister à la consécration de l'église. Cet écrivain
ajoute que Clovis pria le pape de lui envoyer des reliques des saints
Pierre et Paul, parce qu'il voulait en faire les patrons du nouveau
sanctuaire, et qu'à cette occasion il fit tenir au souverain pontife de
riches cadeaux[325]. C'est probablement alors aussi qu'il lui envoya
une superbe couronne d'or, garnie de pierres précieuses, qu'on
appelait «le Règne»[326]. Plusieurs historiens du moyen âge ont
parlé de cette couronne qui mérite une mention ici, puisqu'elle fut le
premier hommage de la royauté très chrétienne à l'Église
universelle.
[324] Vita sancti Genovefæ, xi, 53 (Kohler).
[325] C'est ce que dit une note d'un des manuscrits du Liber historiæ, c. 17. Dans
tous les cas, elle se trompe tout au moins sur le nom du pape, qu'elle appelle
Hormisdas. Hormisdas ne monta sur le trône de saint Pierre qu'en 514, trois ans
après la mort de Clovis. Peut-être faut-il garder le nom d'Hormisdas, et remplacer
celui de Clovis par celui de Clotilde?
[326] Eodem tempore venit regnus cum gemmis preciosis a rege Francorum
Cloduveum christianum, donum beato Petro apostolo. Liber Pontificalis, éd.
Duchesne, t. I, p. 271. Ce passage, écrit au sixième siècle, a passé en substance
dans le Vita sancti Remigii de Hincmar, Acta Sanctorum, p. 156, F, et de là dans
Sigebert de Gembloux, Chronicon (dom Bouquet, III, p. 337). M. l'abbé Duchesne
écrit à ce sujet, o. c., p. 274: «Clovis mourut trois ans avant l'avènement du pape
Hormisdas. Il est possible que l'envoi du regnus ou couronne votive, dont il est ici
question, ait souffert quelque retard. Du reste, le nom de Clovis n'est attesté ici
que par les manuscrits de la seconde édition; l'abrégé Félicien coupe la phrase
après Francorum.» Cf. A. de Valois, I, pp. 270 et 299; dans ce dernier passage, il
fait dire à ses sources que Clovis envoya la couronne qu'il avait reçue d'Anastase.