Sudden departures of symphony orchestra conductors

Sudden departures of symphony orchestra conductors

Thu, 1/25/2007 - 1:08pm — navy59
Jan 25, 2007
Chicago music lovers should enjoy James Jolly’s enlightening article in next month’s Gramophone Magainze. The article is on page 26 of the February issue and is entitled: “The end of the affair.” It is all about the planned departure of Christoph Eschenbach from the Philadelphia Orchestra. It goes on to compare Eschenbach’s untimely departure from Philadelphia to Rafael Kubelik’s departure from the Chicago Symphony. It explains how newspaper critics, Perter Dobrin, David Patrick Stearns and Claudia Cassidy had so much influence on the career of these conductors. Chicago music lovers are very familiar with Eschenbach from his many summers conducting the Chicago Symphony at Ravinia. Some Chicago music lovers have been around long enough to remember Kubelik’s term with the Chicago Symphony even though it was short. I recommend this article because it sheds some light on the reasons for the Eschenbach’s upcoming departure and compares it to Kubelik’s departure and shows that in both cases newspaper music critics wield powerful influences.

Comments

Eschenbach

Dobrin may not have had much power over the decision, but players and administrators did leak to him. These internal feelings are often kept under lock and key in the effort to maintain an institutional happy, unified face before the public.

I don't believe Peter

I don't believe Peter Dobrin had as much influence on the situation with Philly's music director as the above comment proposes. Keep in mind, there was just as strong of an ardent voice in favor of the music director (Stearns) in the same newspaper (as an aside, it's loathsome that Chicago does not have two full time classical music critics even though we have two newspapers). In the end, the Philly musicians (in conjunction with other Philly Orchestra internal forces) had far more impact on the situation than either of the Philadelphia Inquirer's music critics.