<p>This will be up till 11 am western time 10/5, and I thought it would be of interest…it was a pretty amazing show especially Dudamel conducting Beethoven’s 9th.</p>
<p>[On</a> Demand Video](<a href=“http://www.laphil.com/webcast/]On”>http://www.laphil.com/webcast/)</p>
<p>Thanks, I will send this info to my S, the RPO is playing this in Rochester this weekend for the Grand Re Opening of Kodak Hall at the Eastman Theater.</p>
<p>This was an amazing experience. Dudamel invited students from a variety of groups and musical traditions (jazz, rock, gospel, Latin) to perform with legends like Herbie Hancock and Flea, and then his performance of Beethoven 9 had all the perfect elements–pacing, balance, flawless execution. People are sometimes worried he’s too electric, too exciting, but his tempi were measured, a kind of “old man’s Beethoven,” especially in the 1st and 2nd movements. </p>
<p>With New York and LA both engaging conductors of a new generation, there remains a bright horizon for classical music in this country.</p>
<p>I really hope this makes a difference in classical music. From everything I hear from people I know who go to LA Philharmonic performances, he (along with maestro Salonen before him) have really changed the groove of things there,that they are attracting new audiences and generating excitement, which is great. </p>
<p>The cynical side of me, though, doubts if that is going to easily translate to the NY Phil. Allen Gilbert is a great conductor and has special presence, and already is light years in many ways from where the Phil has been (Both Maazel and Mazur were of the old school European brand of conducting, where there is a wall between the audience and where I guess it is beneath their dignity to ‘break the wall’). He speaks from the stage a lot, explaining the pieces, and seems to be poised to do more outreach. The one thing I am not sure is if that is enough to bring in new audiences, time will tell that, and in many ways he faces something more daunting then Dudamel, and that is he is starting more ‘deep in the hole’ then Dudamel is. The LA Phil already was attracting new audiences, from what I have been told they tend to be younger and more mixed, due to the work Salonen and the organization did, while the Phil itself is afraid to act I suspect because they don’t want to offend their traditional audience by going ‘too far’…so he has it rougher I think. </p>
<p>One of the things I find funny in all this is the idea that Allen Gilbert is considered “young”, he is 41, an age at which in most other professions that is considered ‘old guard’ <em>lol</em>. Actually, I was talking to a young conducting student the other day from overseas, and he said this obsession with age really troubles him, and according to him it seems to be a US based phenomenon mostly, that in Europe Dudamel’s age or Gilbert’s wouldn’t be an issue, simply how good they were.</p>
<p>Just heard from someone I know in the orchestra. She said it was the most exciting musical experience she’s ever had. And with her experience (including a stint with the Berlin Phil), that’s saying a lot. </p>
<p>NY certainly has a longer distance to travel, so to speak, to “catch up” with the with-it hipness of the LA Phil. Don’t know how long it will take NY to come up with their own version of something like the “Minimalist Jukebox” programs that really captivated LA a few years back, or the pairing of Haydn and Ligeti that really put LA on the map back in the late 90s. But they are such different cities, institutions, and audiences, and I am equally excited about Gilbert’s ideas for his band. Things are really looking up in both places. </p>
<p>I too dislike the “young” conductor meme. That’s why I was careful to say the word “generation” as in both cases there is indeed a shift in terms of ways of thinking of things. But there’s hype in Europe too surrounding youth–Simon Rattle’s career comes to mind. People are just drawn to the charisma of a young conductor, as long as s/he can also deliver the goods artistically. Kind of like the fawning attention singers receive when they’re also physically attractive. </p>
<p>And then there’s the whole idea of looks in general in all sorts of settings. But that’s thread-hijacking!</p>
<p>N8-
You make a good point, but I think the view on age is different in the US and in Europe.I think people will make a big deal out of a young, talented conductor almost anywhere, but in the US there is still this attitude that somehow age,meaning older, is a critical attribute for a symphony conductor to be good. LA was interesting, because Salonen was young when he took that post, but in the US there is still this bias that somehow older (and sadly, European) conductors are “the word” in good conductors, which is sad because it excludes a lot of talented conductors from other places, and also a lot of young, talented conductors as well (like Dudamel). Allen Gilbert was not the first choice of the NY Phil, they tried to get Riccardo Muti, who while a fine conductor, is not exactly going to breath new life into an orchestra.</p>
<p>In any event, I hope this does portend better things to come, that the efforts of people like Gilbert and Dudamel and MTT and Marin Alsop do bring changes, it is long overdue IMO.</p>