Leonard Slatkin

In March 2020 we were excited about having tickets to two more concerts with the Detroit Symphony Orchestra [DSO], especially for the Carmina Burana directed by DSO emeritus music director Leonard Slatkin. We love choral music and had sung the Orff choral piece with two different choirs.

But we were also extremely concerned about going to a concert hall. The Covid-19 pandemic had reached Michigan. When Governor Whitmer shut the state down, we mourned for the concerts we would never see, but were also grateful to stay home and stay safe. Which we did for a year.

Over that year, I read Slatkin’s blog posts addressing the crisis and the changes the music world was making. We watched the DSO online. I attended ‘Watch Parties’, enjoying the comradery among the musicians who participated by commenting on the music. I checked into Facebook to see DSO instrumentalists play from their homes.

In February 2020 we had ordered tickets for the 2020-21 season. We were so excited about the music and the new director Jader Bignamini. The concerts were cancelled, and we were given credit on our account for the costs. February 2021 we ordered season tickets again, and have huge hopes that this October will see the pandemic under control, and being vaccinated, we will be able return to the concert hall without fear.

But what will that venue look like now? What changes will a pandemic have made on how concerts are organized and run?

Slatkin’s third book is partly comprised of his pandemic era blog posts. But he addresses a lot more in the book. He is envisions possibilities for the future of orchestral music.

Some of the chapters are geared specifically to musicians and music directors. I am, of course, neither, but being eternally curious was interested to understand more about the inside story of what has to happen before I join the audience, and also the issues music directors must deal with.

Aspects of the book that will appeal to the general public include Slatkin’s ideas for expanding and incorporating music education into public school curriculum and how technology offers new ways for orchestras to reach new audiences.

Slatkin’s personality comes through these essays. As he notes, now he is retired, and out of the political aspect of being a music director, he is free to openly express his opinions about everything, including politics.

Slatkin’s background is fascinating. His parents were both musicians in Hollywood and celebrities such as Frank Sinatra were often in his home. We enjoyed how his love for jazz and American music impacted his selections at the DSO, especially his last season.

I received a free galley from the publisher through NetGalley. My review is fair and unbiased.… (mais)