Leading Tones: Reflections on Music, Musicians, and the Music Industry by Leonard Slatkin

"Reflections' is a great description of Slatkin's second book. In a series of essays, Slatkin addresses themes and concerns regarding the music world and his experience.

The book is divided into four sections, titled Living With Music, Six of the Best, The Business of Music, and Wrapping Up. Included are two "interludes," The Mind Wanders and Lagniappe.

The Ten addresses Slatkin's favorite pieces to conduct, with several pages of commentary elucidating his choice. His 'desert island' choices include Beethoven's Symphony No 3, "Eroica", and Elgar's Symphony No. 2, which are being played in his final season (2017-18) with the DSO.

Six of the Best offers brief essays on musicians and conductors Slatkin has known and worked with, starting with Eugene Ormandy. Ormandy's "Philadelphia sound" was a favorite of my husband, and we often quipped that we moved to Philly just for the orchestra. The other five include violinist Nathan Milstein, pianist John Browning, the great violinist Isaac Stern (who I saw in performance with the Philadelphia Orchestra from a balcony seat over the stage!), Gilbert Kaplan, and the popular John Williams.

Pieces for a Lifetime sums up Slatkin's 50+ year career. He was the conductor of the St. Louis Orchestra when in April 1971, they premiered first live performance of Jesus Christ Superstar when it was still a 'rock opera.' (In October 1971 my then-fiance and I saw the rock opera performed in Columbus, OH.) Slatkin next moved to the National Symphony Orchestra before becoming music director at the Detroit Symphony Orchestra (DSO).

Under Slatkin, the DSO introduced twenty-nine world premieres, including the Arab-American Mohammed Fairouz's Cello Concerto, Desert Sorrows January 2016. The cellist was the amazing Maya Beiser, who is Jewish, and the premiere was performed at Congregation Shaarey Zedek, a Conservative synagogue. The synagogue is our favorite "neighborhood concert" venue, with ease of access, wonderful sound, and inspiring architecture. We were at the concert, an exciting, inspiring, and most memorable experience. The response was ecstatic.

The Business of Music considers the changing audition process. Stop the Music offers Slatkin's experience and insight into the Minnesota Orchestra strike, and how he used the experience to bring back the DSO after its strike.

Because we were not yet living in the Metro Detroit area I was unfamiliar with the DSO strike. But my husband and I are the happy beneficiaries of Slatkin's post-strike innovations, including attending Neighborhood Concerts, enjoying the DSO to Go app, and watching the televised Livestream concerts. For a reasonable donation, we can hear and view all the concerts, along with thousands across the world.

Other sections of the book include articles he has written, humorous stories, critic reviews, and "Slatkin on Slatkin."

I enjoyed reading Leading Tones and I learned quite a bit. The book is very accessible to non-musicians. Slatkin's personality and style is very approachable.

I received a free ebook from the publisher through Edelweiss in exchange for a fair and unbiased review.

Leading Tones
by Leonard Slatkin
Amadeus Press
Publication Date: September 12, 2017
ISBN: 9781495091896, 1495091899
Hardcover $27.99

from the publisher: Leading Tones is a glimpse into several aspects of the musical world. There are portions devoted to Leonard Slatkin's life as a musician and conductor, portraits of some of the outstanding artists with whom he has worked, as well as anecdotes and stories both personal and professional. Much of the book discusses elements of the industry that are troubling and difficult during this first part of the 21st century. Auditions, critics, fiscal concerns, and labor negotiations are all matters that today's conductors must be aware of, and this book provides helpful suggested solutions. Leading Tones is intended not only for musicians, but also for the music lover who wishes to know more about what goes into being a conductor. 

LEONARD SLATKIN has conducted virtually all of the leading orchestras in the world. Currently music director of the Detroit Symphony Orchestra, he has held directorships in New Orleans; St. Louis; Washington, DC; London (with the BBCSO); and Lyon, France. He has also served as principal guest conductor in Pittsburgh, Minneapolis, Los Angeles, and Cleveland. Slatkin's more than 100 recordings have garnered seven Grammy awards and 64 nominations. Other awards include the National Medal of Arts, Chevalier of the French Legion of Honor, Austria's Decoration of Honor in Silver, and the League of American Orchestras' Gold Baton Award. He is the father of one son, Daniel, and lives with his wife, composer Cindy McTee.
His previous book is Conducting Business.

Thoughts At The Symphony

 Orchestra Hall

Since returning to Metro Detroit we have been enjoying the Detroit Symphony Orchestra directed by Leonard Slatkin. At Orchestra Hall or the neighborhood concerts, on the DSO to Go app or Livestream internet television, it has been a delight. Maestro Slatkin does a wonderful job bringing the music to the people.

 

Every time I hear the symphony live I realize how listening to a recording or radio is lacking.

Last evening we heard Joshua Bell performing Lalo's Symphonie espagnole, which I had only heard on radio before. It is a real showpiece for violin and Bell was amazing! The concert started with a tribute to Steven Stucky, performing his Dreamwaltzes, which Slatkin first directed 30 years ago. And the concert ended with Prokofiev's Symphony No. 5 in B-flat major.

The program notes quotes Prokofiev: "I wanted to sing the praises of the free and happy man: his strength, his generosity and the purity of his soul. I cannot say that I chose this theme: it was born in me and had to express itself." It was written in 1944 "as a means of putting into music all of the mind-boggling suffering which Russia had endured during the Nazi invasion, but also to look forward to what many people then felt was an almost-sure final victory."

The symphony premiered in Moscow the day that the Soviet Army crossed the Vistula on their victory march into Nazi Germany. Prokofiev lifted his baton but was delayed by the sound of gunfire. As the symphony came to its end "it became clear that the end of the war was indeed insight."

With the coda, the martial sounds of war with the drums and percussion instruments driving the music louder and more belligerent, the couple in front of me turned to each other in silent laughter. I wanted to give them a Gibbs head slap. Where I was experiencing the impact of war into human life they thought the 'intrusion' was funny.

But I had been thinking of how 1944 was less than ten years before my birth, how I grew up thinking the war was ancient history while around me my parents and grandparents knew otherwise. And I considered how lucky I am: my grandmother and her family, and my husband's grandfather, left Russia a hundred years ago. And fifty years before that the German Ramers. Because had they been in Russia and Germany they would have lived through the war--or died in it.

Great music at once engages my rapt attention while also freeing my mind for free association, forging connections between my knowledge and experience to the music.