Kurt Masur and Pierre Boulez

Kurt_MasurAfter my diatribe the day before yesterday about the situation at ENO, I felt it was necessary to write something utterly positive. What could be positive about the passing of two great maestri you ask? Well what about reminiscences from long-serving and ex-orchestral musicians in the New York Philharmonic about both these illustrious conductors. Fortunately AFM’s Local 802 here in New York posts its magazine online. You can read the Reminiscenes article here.

But not only that, I would like to point out one paragraph in the article from long-serving double-bassist in the NYPhil., Orin O’Brien.  And I reprint it here for good measure:

“I would like to put in a word here for all orchestral musicians everywhere: it has been fashionable for music critics to write that “such-and-such an orchestra either likes or dislikes a conductor.” No attitude could be more wrongly portrayed. Every professional musician I have ever known has wished to collaborate with the kind of conductor exemplified by a Kleiber or a Bernstein, who allowed an orchestra to play its best. This means that each player, giving all that is possible to be his or her absolute best in every minute of a rehearsal or concert, is playing for the music, for the audience and for the conductor. I have never known any musician to want anything but to play beautifully, to serve the composer most of all. The miracle (which sometimes occurs at a rehearsal, not only at a concert) of a memorable flute, oboe, clarinet, bassoon or horn solo, the delicate shimmer of a pianissimo cymbal, or a concertmaster’s tender arpeggio – those are precious, shared, ideal moments that form the character of an orchestra.”

You want Ms. O’Brien playing for you everyday if you conduct an orchestra!

More soon,


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