Word: leinsdorf
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Dates: during 1960-1969
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...Manhattan's Mannes College of Music. When the New York City Opera got going, so did Rudel, then 22. He was everything from rehearsal pianist to curtain puller to stand-in for ailing members of the chorus. In 1957, after a clash between the opera board and Erich Leinsdorf (who followed Halasz and Joseph Rosenstock) left the company without a conductor, Rudel was appointed director. The decision was made, says one board member, partly because "Julius was the only man in the place who knew where all the scenery was buried." Just as compelling was a petition from...
...merits of Indjic's showing were his own; the contributions of conductor Erich Leinsdorf fell rather short of the inspirational. While visibly concerned with keeping orchestra and soloist together, he allowed them repeatedly to part company, primarily in the second movement. Orchestral climaxes seemed halfhearted, and the solo playing (that of cellist Jules Eskin) almost mediocre. For all his apparent courtesy, Leinsdorf did little to assist the pianist in matters of detail, and in several instances appeared to intimidate Indjic into hasty exits...
...popular, overplayed works which most often reveal the real character of a conductor. Leinsdorf's accounts of the Meistersinger Prelude, the Prelude to an Afternoon of a Faun, and Till Eulenspiegel, all preceding the Brahms, only further confirmed the painful facelessness of his style. Behind his strange podium histrionics and overliterate interpretations lies a dominant inability (or worse, an unwillingness) to truly communicate with his musicians. Amid this pedestrianism, most of Till's grotesque humor was lost, along with the overt charm of the Debussy Prelude. Season after season of such readings serve only to dull the sensibilities of entire...
Eugene Indjic '69 has been invited by Eric Leinsdorf, conductor of the Boston Symphony Orchestra, to play Branms' Second Piano Concerto at the War Memorial Auditorium on February...
...felt strange to be sitting in Symphony Hall, listening to Leinsdorf conduct the BSO, and hearing bad blend and faulty intonation even occasionally. The total effect of the Beethoven was exhilarating, but I can't help wondering, in retrospect, whether my standards are too high (after all, the players are only human), or whether it could indeed have been better. When the Aristocrat of Orchestras falls down on the job, what values are sacred...