Word: clevelandism
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Dates: during 1980-1989
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...When the Cleveland Orchestra recently chose a new music director, it reached across the Atlantic to select Christoph von Dohnányi, a German of Hungarian descent who is head of the Hamburg State Opera. It is a familiar story. Once again a major U.S. conducting post has gone to a foreign-born musician. Where are all the Americans...
...waiting-impatiently-for the arrival of the next comparably compelling American conductor. Bernstein is now 63, and the wait goes on. Lorin Maazel? Indisputably talented, though sometimes willful in his interpretations, Maazel, 52, was born in France to American parents and, apart from his stint as conductor of the Cleveland Orchestra (1972-82), has made his reputation in Europe. This fall he takes over as director of the Vienna State Opera, the most prestigious operatic post in the world...
...find the up-and-coming young American conductors today, one has to look beyond the ranks of the "Big Five" orchestras-New York, Boston, Chicago, Cleveland and Philadelphia-to the smaller but highly accomplished ensembles that have nourished around the country away from metropolitan spotlights. It is from their ranks that the next important American music director may emerge. Five top candidates...
...five Americans understand how the system works-and that it is not likely to change soon. "I never in my wildest dreams thought an American would go to Cleveland," says Zinman. Observes Keene: "If you want to find the American conductors, you have to go beyond the ten largest orchestras. At the secondary level, Americans seem to have plenty of appointments." Slatkin-the only native-born American leading an orchestra whose annual budget ( lion) is among the dozen highest-thinks the grass-is-greener philosophy extends to other countries: "Look at England. None of the big London orchestras...
While any one of the five would no doubt accept an offer from Philadelphia or Boston, each professes to be happy with his current situation. Slatkin cites the example of Cleveland, where George Szell turned a regional ensemble into a crack musical regiment: "If it can be done in that city, it can be done in St. Louis." Adds Simmons: "I'm not even thinking about leaving Oakland. Here, I am able to build something that is basically my own instrument. Why go somewhere else and start over again...