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National Symphony Orchestra
With Leonard Slatkin
Music Director
Friday, June 21, 2002; 3 p.m. EST
The 2001-2002 season is Leonard Slatkin's sixth as music director of the National Symphony Orchestra. This season the National Symphony is distinguished by a nationally broadcast radio series designed and hosted by Mr. Slatkin, a 10-country tour of Europe, and the Journey to America Festival. Slatkin also works with student orchestras at various conservatories and across the country through the National Symphony Orchestra American Residencies program and is also the founder and director of the National Conducting Institute, a career development program that assists conductors in making the transition from leading part-time or academic orchestras to working with full-time major symphony orchestras
Slatkin was online Friday, June 21 at 3 p.m. EDT, to discuss this year's season, the upcoming Capitol Fourth concert -- conducted by Erich Kunzel -- and his work with developing conductors.
The transcript follows.
Editor's Note: Washingtonpost.com moderators retain editorial control
over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.
Leonard Slatkin: Greetings from Dresden,
I am here conducting the Staatskapelle and will be back in Washington next week. This brings us to one of the subjects of today's chat, the National Conducting Institute. For three weeks, eleven conductors from different parts of the United States have come to the Kennedy Center to learn as much as we can offer regarding becoming a full time professional orchestra leader. For those of you who are not familiar with the project, I would refer to you Tim Page's article of last year, but for now I will be happy to answer any questions about what we do and how we do it. In addition, I can chat with you about matters related to next season and the one that has just ended. So let's get going.....
Alexandria, Va.:
Mr. Slatkin,
I enjoy your work with the NSO, and I'm fortunate enough to have attended most Thursday night performances for the last two years. I'm writing to encourage you to present more adventuresome work -- more pieces other than the same old "favorites" by Brahms, Beethoven, Mozart, Elgar, etc. This year, for example, it was the Janácek and Mahler pieces I especially remember. So keep up the good work, and more of it!
Leonard Slatkin: thank you for your comments. At the NSO we pride ourselves on a wide body of repertoire. Usually when we play "the same old favorites" it is coupled with a work quite off the beaten track. Next season, for instance, all of the Brahms concertos are heard in conjunction with less performed worked by George Crumb, Joseph Phibbs, and William Schuman.
Washington, D.C.:
Mr. Slatkin -- so nice of you to be here today! You have a big fan base among young people (especially young women)! I'm 23 and my friends and I just love you. Thanks for everything you're doing with the symphony.
Leonard Slatkin: thank you very much. I firmly believe that we have to satisfy the needs of our long going symphony patrons and at the same time cultivate our younger listeners.
Washington, D.C.:
How do you decide which choruses you will perform with? There are several good ones to choose from, and some seem to be showcased more than others. Do you have any say in which chorus you use?
Leonard Slatkin: Good question. Washington is blessed as you point out with many fine choral institutions. We try to involve as many as possible and also try to choose the repertoire that we think will be best served by each chorus. In particular, we work with Norman Scribner, Robert Shaffer and J. Reilly Lewis on a regular basis, but there are other choruses that should also be heard.
St Louis, Mo.:
How come U.S. orchestras accept players from all over the world taking away American jobs, yet foreign orchetras only accept people from their own country with a few exceptions?
Leonard Slatkin: I can't say I agree with your premise. The vast majority of players in American orchestras are American or reside here. I can only think of two major positions that have been filled by foreign artists and those are the concertmaster in San Francisco and principal cellist in Los Angeles. And the latter is leaving after just one season. Certainly in Europe more orchestras are relying on people from other parts of the European Union other than their own countries. The principal trombone of the Vienna Philharmonic, for instance, is from London.
Washington, D.C.:
This is a question a bit off the announced topics. But given your long-time affiliation with St. Louis and your love of the St. Louis Cardinals baseball team, do you have any words on the death this week of their great announcer for many decades, Jack Buck?
Leonard Slatkin:
what a great man he was. Many was the time that I was in my car travelling somewhere across the midwest and Jack's rich tones would fill the airwaves. I don't know if he could sing or not, but I do know he loved music and would have been a welcome soloist anytime he wanted it.
Washington, D.C.:
Maestro Slatkin --
"Journey to America" was a brilliant and innovative endeavor. I learned so much not only from a musical point of view but sociological as well. Bringing together your brother ,concertmaster Dickterow and yourself in a musical immigration discusiion was one of the highlights.
Question: How can you top this and what are you planning for next year? Is this still a secret known only to you and the Board?
Thank you and warmest wishes for contiuned success.
A devoted fan and contributor to the NSO.
Leonard Slatkin: I'm thrilled that you enjoyed the Journey so much. Next season John Williams and I will codirect a Festival which during its two weeks will trace a great deal of the history of music and film. Among the special events are one that is call Insynch, which will attempt to show the audience the various methods of putting the music together with the film. A new score will be created for Fritz Lang's masterpiece Metropolis. There will be several panel discussions to help us understand how the course of political and social history changed the course of Hollywood in the early 1950s. If you liked the Journey, this festival should be for you as well.
Arlington, Va.:
I'm not familiar with the Conducting Institute. Can you explain? Also, do you work with young children to encourage them to a life in an orchestra?
Leonard Slatkin: This is a big question, but roughly the Conducting Institute is designed to help those aspiring to a career on the podium better understand how to make the transition from school, community or amateur musical life to becoming a professional. The conductors are put through an intense three week program where they are taught virtually everything about how a major American orchestra is run. They observe rehearsals of the NSo, are mentored by five of its players, and ultimately stand in front of the orchestra with a full understanding of how they will now approach orchestras differently than they have before. It is the kind of advice and preparation I wish I had had when I was beginning my professional career.
The second part of your question is probably for a lengthy discussion at some other time, but certainly we are doing as much as we can to promote music education in all of our schools, public and private. I don't think it matters whether young people aspire to a career in music or not. Just as long as it has been a part of their early learning experience.
Washington, D.C.:
Mr. Slatkin,
What prompted you to create this conducting institute? And what do you think the main benefit is for the conductors?
Leonard Slatkin: The institute grew out of a need for something that did not exist at the time. Even the distinguished conducting programs at Aspen or Tanglewood do not give the conductors an opportunity to stand in front of a full time professional orchestra and they certainly don't take the conductors through the broad day to day workings of the administration.
By the end of the institute it is my hope that all of our participants will bring to their professional lives a greater understanding of what the true job of a music director in the United States is.
Chicago, Ill.:
I notice that yet again no violists are soloing with your orchestra next season. Being a young violist I'm very concerned of the lack of role models for me on the concert stage.
Leonard Slatkin: I could be facetious here and deliver yet another lame viola joke, but in point of fact there are many instruments that are not represented in solo roles next season -- no double bass, no trombone, no percussion. However, our principal violist, Daniel Foster, played on subscription concerts last season and will, no doubt, be heard very soon again.
Fairfax, Va.:
Mr. Slatkin,
Thanks for taking the time to appear in this forum. I was a subscriber last year and wanted to second the prior suggestion that adventuresome repetoire be programmed. I also attended a San Fransisco Symphony concert last year in Davies Hall at which Berio and other moderns were presented by Mr. Thomas and apprarently welcomed by their audience. I enjoyed having my horizons expanded and preconceptions about challenged. Do you think the Washington audiences are more conservative than most and, if so, do you feel constrained by that in your choice of repetorie?
Thanks again.
Leonard Slatkin: I love what Mike is doing in San Francisco. I believe the concert you attended was part of a special series devoted to relatively contemporary Italian composers. On balance, when I look at our season I find many similiarities. In particular, there is a balance of repertoire which pairs the familiar with the not so well know. In this past season we had seven world premieres, not counting the five encores that we commissioned. Next season audiences will hear several new works along side pieces that have established themselves in the repertoire.
Rockville, Md.:
When I heard about the recent Festival of Favorites, I shook my head in disappointment. To me, that is redundant -- the entire NSO season is all warhorses and Same-Old Same-Old, very little new or interesting.
I'm 36 years old and I haven't been to an NSO concert in several years. Luckily I have found the local chamber music ensembles provide the interesting, challenging and rewarding programs that I'm looking for.
I look at European orchestra and festival programs on the Web and I feel deprived here in the U.S. -- It's almost shameful that they put on multiple performances of music by Reich or Adams or Riley or , and we get a pittance over here.
Why do you and other music directors feel the need to program so many of the same pieces over and over again, just as we hear on the radio?
As a non-grey-haired music lover, I feel resigned to the fact that I won't be going to symphony concerts for many years to come. I hope you and your colleagues begin to take notice of my demographic, since I would like to be supporting something that is rewarding for me.
PS: I am not a big fan of the "medley" NSO programs either, where seven or eight or nine small pieces are played in one night. Too many interruptions, not enough substance.
Leonard Slatkin: It is interesting to compare your reaction to others who have complimented us on our adventurous programming. I suspect that most of the European situations you are talking about are either festivals or concerts presented by radio and state subsidized institutions. Here is Dresden I am conducting the highly regarded Staatskapelle. We are playing among other pieces, Joseph Schwantner's Percussion Concerto. this is the only piece all season written within the last 75 years. I personally do not like ghettoizing new and unusual music. I feel that if it is of substance, it needs to stand beside the established masterworks. If you have looked at next season carefully, I think you will find several works of substance which should be of great interest to any music lover of the unusual. I am referring to works, among others, by Saarihao, Rautavaara, Edgar Meyer, Joseph Phibbs, Cindy McTee, Jeffrey Mumford, George Crumb and your previously mentioned John Adams. The last thing I want to do is group all of these composers together. If that doesn't suit your own musical tastes, I am very sorry.
Washington, D.C.:
I do loves me the Mahler. Any chance we'll get a Mahler festival anytime soon?
Leonard Slatkin: No. If you are talking about trying to do all ten symphonies in two weeks, I would be encountering a revolution on the part of the orchestra. However, at least one work by that composer will exist in each year. And when the 03/04 season is announced, you should be quite pleased.
Bethesda, Md.:
Maestro Slatkin,
I know the orchestra recently returned from a trip to Europe, and wondered if you had any special anecdotes from that trip that you would like to share.
Leonard Slatkin: We had a fine, but exhausting tour. Many things happened as they will on a trip like this, but I think the strongest memory for the orchestra would be the last minute program change in Vienna. Our soloist, Joshua Bell's, father passed away and we quickly had to find a replacement and change what we were performing in Vienna. The orchestra's librarian, Marcia Farabee, had put Rimsky-Korsakov's Scheherazade into the tour books. We had played it just prior to leaving on the trip, but it wasn't scheduled for any of the cities. We only had about 25 minutes to retouch it and it turned out to be one of the most extraordinary performances we gave.
Alexandria, Va.:
Just weeks ago in London, I heard a young German violinist named Julia Fischer for the first time. I thought she was amazing (substituting for Pamela Frank with the Academy of SMF). Do you know of her, and might there be plans to bring her to Washington sometime in future seasons?
Leonard Slatkin: as it happens, Ms. Fischer was the host of something called the Eurovision Young Artists Competition at which I served as the head of the jury. She didn't play, but I have also heard fine things about her. As is usually the case, I need to hear them first before I engage so we are trying to find a time for me to do just that.
Washington, D.C.:
Mr. Slatkin,
Do you feel it is important -- or useful -- to have an American as the music director of the National Symphony Orchestra in Washington? Or is it irrelevant, since one of the wonderful things about classical music is that its works can be played and conducted and appreciated by people of many different countries? (I think you can guess my view.)
Leonard Slatkin: I don't believe in nationalism when it comes to performers. Symbolically it looks good to have me in Washington, but most major European capitals don't have conductors from their countries in charge, i.e. Rattle in Berlin, Chailly in Amsterdam, Ozawa in Vienna, etc. What is important, no matter who it is, that person must have a strong commitment to the music from the United States.
Chicago, Ill.:
Dear Mr. Slatkin,
It was so nice to have you back in Chicago, it's been too long. When will you be returning? Hopefully soon, we miss you!
Leonard Slatkin: Thank you. I used to have a long relationship with the CSO, Grant Park and the Lyric Opera. Currently I don't do as much guest conducting as I used to. However, I had a wonderful time after a nine year absence. I can only hope that the orchestra enjoyed. Should they wish to invite me back I would be more than happy to return.
Gaithersburg, Md.:
I am tired of seeing "3 B's" orchestral programming. Boring, Boring, and Boring. Do you think American orchestras are going to lose the younger generations of listeners by their "Top 40, All the Time" programming?
Leonard Slatkin: I would be curious to site an orchestra whose programming you admire. Like one of the readers earlier, it sounds as if you have become of those works which have entired the symphonic canon and don't wish to hear them even if other works on the program suit you tastes. I personally find that the new works and the unusual ones must stand with those that have already made their mark.
Bethesda, Md.:
Are you the same Mr. Slatkin that taught at BCC High School? If so, CONGRATS on all you're doing! GO BARONS!
Leonard Slatkin: thank you on behalf of all Slatkins everywhere. Unfortunately I am not the one you refer, but if he taught music he can't be all bad.
Washington, D.C.:
What are you looking forward to during the upcoming season?
Leonard Slatkin: I always look forward to working with the soloists that we have. It will be nice to welcome Slava back to the podium. Two weeks by Robert Abbado and three weeks of Osmo Vanska should be exhilirating. Certainly the Music in Film Festival. There is also a new series which will be presented at this time of year called Composer Portrait. The first half of the concert will be a musical biography of the composer, followed by a performance and discussion of a major work. For the first year we are featuring Tchaikovsky. It is my hope that this develops into a major educational tool. It is designed for those who want to learn more about a composer and these concerts will also be very family friendly.
Columbia Heights, Washington, D.C.:
Does the Institute touch on on issues not directly involved with conducting, such as public relations and development? It does take a lot of skills to survive in the arts!
Leonard Slatkin: All of the above and more. Administrative skills are the first issue addressed during the institute. The participants even attended an NSO board meeting. It is a very thorough orientation.
Arlington, Va.:
My question is about assistant conductors. A few years ago, I had the pleasure of seeing a woman named Elizabeth (forget her last name...) conduct the NSO at Wolf Trap a few times. I understand assistant conductors have two year appointments... can you explain a bit about where they tend to go on to and why there aren't more women in that role?
Leonard Slatkin: You are referring to Elizabeth Schulze. She is currently Music Director of the Maryland Symphony Orchestra in Hagerstown Maryland. Women are steadily entering the conducting workforce. Two of our four participants in the institute are women. Conductors such as Marin Alsop, Simone Young and Joanne Falleta all have fine careers. I hope we are not very far away from one of them or their colleagues getting a truly major position in this country.
Washington, D.C.:
What is the most "basic" NSO package available for someone just beginning to admire your profession?
Leonard Slatkin: Without going into a lot of detail, you can create your own series or pick a preexisting seven concert series. You can call 202-416-8500 for a season schedule.
Washington, D.C.:
Aren't there lots of programs for young conductors? Would love to know why this one is "different."
Leonard Slatkin: as stated earlier, this is the only one where the conductors actually conduct a full time professional orchestra. In addition the whole focus on management and administration gives it quite a different perspective than other programs out there.
Greenbelt, Md.:
Hello--
Are you fan of Witold Lutoslawski's work?
I must confess that I purchased my first CD of his work three months ago. I've been mesmerized by his work ever since. For me, his work is so fractured, jagged, and yet very compelling.
I admire your work tremendously, so I would very much value your opinion of Lutoslawski's work.
Thank you.
Leonard Slatkin: I love his music. I recently did the third symphony with the New York Philharmonic. I will program either this or one of his other works in an upcoming NSO season.
Washington, D.C.:
So many American orchestras seem to be looking for music directors these days. Is there something especially different about being a music director in America, as opposed to Europe?
Leonard Slatkin: this is a long question. Off the top of my head I know that Pittsburgh, St. Louis and Detroit are looking. I am sure there are others. We will have to leave the second part of the question for when there is more time, but the answer is yes.
Kansas City, Mo.:
What do you suggest to future musicians and conductors that are just beginning their studies in the arts?
Leonard Slatkin: There are very few callings more satisfying than being a musician. To carry on the legacy that has been left to us by past masters and to help define those composers and works which might become essential in the future is a daunting responsible. Those who choose this path have a very difficult road to travel. Ultimately you have to reach inside to determine the depth of your commitment. And if you find it is there, you must pursue it with every fiber of your being.
Leonard Slatkin: That seems like a good place to end for today. Thank you very much for a stimulating session. There are many questions that time did not allow and I hope we can get to them in the very near future. In the meantime, keep listening.......
Leonard Slatkin
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