Word: musicalization
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Dates: during 1970-1979
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After they leave Berlin, the HRO members will give a concert at London's Royal College of Music for the Harvard Club before returning to Cambridge...
Giulini plans one major innovation for Los Angeles: additional chamber music. Modern music will be left to guest conductors. Says he: "I don't feel at ease with music I don't understand." Giulini and his wife Marcella will live in Beverly Hills; there will be none of Mehta's social panache. Says Giulini: "I have lived like a bear for years, isolated with my music...
...lots of the classics, Mozart and Haydn, but also likes such modernists as Berg and Bartok. "None of the young conductors has a wide repertory, but De Waart is anxious to learn and that separates him from the rest," says Milton Salkind, president of the San Francisco Conservatory of Music. De Waart is not worried: "Herbert von Karajan once said it takes ten years to be a conductor and another ten before one is a good conductor. O.K., I've conducted almost twelve now. That makes me a conductor. I'll try to become a good...
...Leonard Slatkin, 35, grew up professionally with St. Louis. Before his stint as music director of the New Orleans Philharmonic, he had moved upward, through the conducting ranks of the orchestra he will now head. He is an inventive programmer who likes little-known American works and singles out the less popular symphonies of the major composers. Slatkin's weakness, musicians feel, is his tendency to skim the surface of music and his awkwardness on the podium. Still, he and St. Louis know each other intimately and should grow together...
...lucky. It has landed two men who have gained formidable international reputations in a relatively brief time. Marriner, conductor of London's Academy of St. Martin-in-the-Fields chamber orchestra, has "charm and wit and intellect," says one London observer. His 200 recordings, many of Baroque music, have pleasingly brisk tempi and a gay, intimate sound. As music director, Marriner will bring his favorite Haydn and Mozart to Minnesota; his weakness may well be that specialized repertoire. But, says he, "if you want to have any impact as musical director, then you must take along the repertoire...