Word: musicalization
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Dates: during 1970-1979
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...Mehta move was the grandest, most publicized stroke of all: his appointment as music director of the New York Philharmonic to succeed avant-garde composer and conductor Pierre Boulez. Not everyone in New York was delighted. Boulez had been a cool, ascetic leader. Mehta, by comparison, had a reputation for more gloss than substance. There was the question of his repertoire, which stressed Tchaikovsky and Strauss to the detriment of the early classics. Finally there was his famous contretemps with the Philharmonic. In 1967 he enraged the New Yorkers by reportedly declaring that his own Los Angeles Philharmonic was better...
...radiates pent-up emotion that electrifies the orchestra. In certain lyrical passages, as in Prokofiev's Suite from "Romeo and Juliet, " he almost stops conducting, falling into a dreamy, swimming motion. At more dramatic moments, however, he will step smartly forward, as if charging directly into the music. Startled, the players give him the taut line that he wants...
Mehta, born in Bombay, studied conducting at the Vienna Music Academy. He took over the Los Angeles Philharmonic at 26, the youngest man at that time to lead a major American ensemble. In his 16-year tenure there, Mehta made a few memorable mistakes, one an embarrassing rock-classical concert. But Mehta's star quality and hard work helped to I mold his musicians into one of the country's top orchestras...
...Angeles musicians will miss Mehta, but they can't seem to lose these days. They have inherited an unsurpassed replacement: Giulini, whose mystical readings of music sometimes seem inspired by communion with the composer. Says one Los Angeles Philharmonic staffer: "You could say that we've lost a Hercules, but we're getting...
...years, Giulini has refused musical directorships of orchestras because of his intense dislike for the attendant administrative and social duties. In America, he has been known primarily for his 23 years as a guest conductor with the Chicago Symphony. Los Angeles won him by offering freedom from paper work, a lighter-than-usual five-month load, and a blank check. A tall, slim, aristocratic man, Giulini is the rare maestro who is truly loved by his musicians. They may grumble about his perfectionism or his occasionally erratic tempi. But, says Victor Aitay, Chicago's co-concertmaster, "he approaches music...