Submission Software Reviews™

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NL quite rightly discloses his friendship with Kaplan and with that on and off the table, some points can be made.NL is correct that orchestra players have often had beefs with their conductors. Players from the Chicago Symphony danced on Fritz Reiner’s grave when he died. There is no love in Cleveland (Welser-Most), or in recent years in Philadelphia (Eschenbach) or Boston (Ozawa). There is no news here. What the NY Philharmonic trombonist (NYPT) has done on his blog (which seems created for the express purpose of the rant in question) is to publicly denigrate Kaplan’s conducting and musical ideas while at the same time taking apart the very thing he hopes to preserve as a result – the reputation of the NY Philharmonic.It seems lost on NYPT (and he is the second, not bass trombonist of the orchestra) is that to attack Kaplan is to attack the orchestra’s artistic administrator and music director who were the ones who engaged Kaplan. They – not the orchestra’s second trombonist) – are the “gatekeepers” of the standards of the orchestra. They decide who conducts and who comes back.NL is also correct when he says the player in question would not have published such a rant against a “real conductor” who could, someday, become his music director. It should come as no surprise that the NY Philharmonic public relations office is dealing with a major damage control issue with this whole matter. It would not surprise me if the NY Philharmonic has a clause, similar to those in other major orchestra contracts, that prohibits a player from engaging in activity harmful to the orchestra. It’s not unlikely that the trombonist has been called in on the carpet and given a vigorous tongue lashing. Who knows, he could be fired.What his player does not seem to understand is that he has a role to play in the orchestra. He is to play second trombone to the best ability. He is not the conductor, music director, even principal player of his section. HIS JOB is to play trombone. Determining who conducts the orchestra is SOMEONE ELSE’S JOB.The orchestral world is full of pretenders to the podium. One does not have to look at an admitted amateur like Kaplan. There is a dearth of “great conductors” and even a paucity of “good conductors.” That so many renowned soloists, malcontent to simply be a great soloist, have taken up the baton (Pearlman, Rostropovich, Domingo, Zuckerman, etc) and assume that their star power extends to the podium (it does not, they are/were all abysmal conductors) shows the state of the situation.There is no denying that Kaplan loves the Mahler 2. Actually, he is obsessed with all of Mahler’s output. He has done a tremendous service to the art of music by funding exquisite facsimile scores of Mahler’s 2nd Symphony, the Adagietto of the 5th, and the Klopstock Chorale sketches. His book with every known photo of Mahler is revelatory. One can argue whether the relative success of his London Symphony and Vienna Philharmonic recordings are a product of his intimate knowledge (and ability to communicate same) of the score or a tribute to the skill of the players. You can put Big Bird from Sesame Street in front of the LSO and they will still play like the LSO. They are professionals and will put out, whether or not they are rolling their eyes.But let’s put this in perspective. When trombone players in orchestras start spouting off about how inept the conductor is, is it not time for conductors, on their blogs, to talk about the huge clam the second trombone player laid during the performance? Mahler survives all of this unscathed – he has been conducted over the years by geniuses and idiots. Kaplan? He admits he is not a “great conductor,” but is a fan, a lover of the music. If orchestras want to engage him, they do so for their own reasons – either to sell tickets or because they are convinced he will put over a good performance. Kaplan did his job. As to the second trombone player? Methinks he doth protesteth too much, and would do well to do his job rather than elevate himself to a self-aggrandizing position of gatekeeper for his orchestra. There is a story in a famous book about taking out the plank in your own eye before pointing out a splinter in your brother’s. It looks to me like the trombone player is blinded by his own sense of self-righteous anger and can’t see that he has simply served to harm not only his orchestra but his own reputation.