Among the New York Philharmonic’s guest conductors this season are three of the orchestra’s former music directors: Zubin Mehta, who was here from 1978 to 1991; his successor, Kurt Masur, who served until 2002; and his successor, Lorin Maazel, who served until 2009. Please note that, three times in a row, we had a music director with a two-syllable name beginning with M.
Lorin Maazel with the New York Philharmonic. Photos by Chris Lee
Maazel was the first to return this season, seeming as fit as ever at 81. When he left the Philharmonic, he said he would never again have a permanent job with an orchestra. Next season, he begins at the Munich Philharmonic. Never say never. By the way, Maazel’s father, Lincoln, a singer and actor, died in 2009 at 106.
The son conducted two programs with the Philharmonic, the first consisting of Mozart and Debussy. I remember in 2006, when everyone was celebrating the 250th anniversary of Mozart’s birth. We had Mozart coming out of our ears. Maazel programmed the last three symphonies with the Philharmonic. I was rather dreading that concert. Maazel did so well, I wish he had gone on to conduct three more.
On a Saturday night last month, he did well with the Symphony No. 38 too. There were a few Maazelisms, such as some questionable ritards, but overall this was intelligent, correct, vibrant Mozart. He followed the symphony with Mozart’s Concerto for Flute and Harp—which prompts me to recall:
Last summer, I did a public interview of Trevor Pinnock at the Salzburg Festival. He was conducting this concerto, among other works. I asked, “Do you agree with those who maintain that this is a rather weak piece?” Yes, he said, “but it would be hard not to love that slow movement, wouldn’t it?” Although Maazel and his soloists—Robert Langevin and Nancy Allen, the principal flute and principal harp of the Philharmonic—were more than adequate in the piece, it remains so dull, I wanted to put a bullet through my head. A Mozart idolater like me is entitled to say that.
The Debussy pieces on the second half of the program were Jeux and Ibéria. In the first, Maazel was precise, urbane and suave. In Ibéria, he added some of his patented jazz. Under his baton, the music managed to be red-blooded while retaining its French reserve and sheen.
Six days later, on a Friday morning, I heard Maazel in an all-Strauss program. It began with An Alpine Symphony—which was spectacular as it should be. Maazel judged it superbly, in a thousand different ways. He ended his program with Till Eulenspiegel’s Merry Pranks, which had all its jokes, and more. The previous Sunday afternoon, I had heard Fabio Luisi conduct the Metropolitan Opera Orchestra in Till. It was essentially without jokes. (No joke.)
A week after Maazel’s Friday-morning concert, I heard Masur conduct the Philharmonic. He is 84 now, much thinner than he was. Also, he is slow of foot, and trembling of hand. Still, he has his musical wisdom, and he knows how to communicate with an orchestra. He can get more with a few gestures than others can get with full-body flailings.
He began his concert with Schubert’s Unfinished Symphony. I was thinking, “When did he first hear this piece?” Probably the early or mid-1930s. His account of the symphony was moving and profound. It reminded me of the Bruno Walter recording I grew up on.
His main work was a Shostakovich symphony, No. 13, “Babi Yar.” Masur has made something of a specialty of this piece: The Philharmonic has played it in only three different seasons, and Masur has conducted all of them. Each time, his soloist has been Sergei Leiferkus, the Russian baritone.
Leiferkus is 65 now, but it’s hard to believe: He proved his familiar self, erect in bearing and conscientious in execution. As for Masur, he made the symphony speak as it should—let it speak, I should say. He did not try to do all that much. He knows that the drama is contained in the score. Both conductor and singer trusted the power of the notes and words to do the job. Masur made me appreciate the work more than I ever have—the “Babi Yar” symphony is great, as well as brave.
Masur is great too, and so is Maazel. When they are on, hardly anyone else can touch them. I heard Masur many times from the mid-1970s to the mid-1980s, and I thought he was all right—nothing special. But, in my opinion, he grew into something very special indeed. Sometimes age is an advantage. Didn’t we used to know that, before the current mania for youth in conducting?
Zubin Mehta will come to New York in January to conduct Bruckner’s Eighth Symphony. He appeared on the cover of Time magazine in 1968, along with the words “The Baton Is Passed to Youth.” The youth is now 75, and we’ll see how he does.
Music & Opera
Alice Tully Hall: The Juilliard Chamber Orchestra plays works by Stravinsky, Copland & Mozart. Nov. 21, 70 Lincoln Center Plz., 212-769-7406, juilliard.edu; 8, free with advance tickets.
The Church of the Epiphany: Organist Larry J. Long performs in “From Lübeck to Leipzig: Organ Masterworks of JS Bach & His Contemporaries.” Nov. 13, 1393 York Ave., 212-866-0468, salonsanctuary.org; 4, $25.
The Church of St. Ignatius of Antioch: Choral ensemble Polyhymnia performs in “My Soul Doth Magnify: 200 years of the Canticle of Our Lady,” featuring the music of Dufay, Fayrfax & others. Nov. 12, 552 West End Ave., 917-838-4636, polyhymnia-nyc.org; 8 (pre-concert lecture at 7), $25.
Symphony Space: The Society for Universal Sacred Music presents its 5th Festival of Universal Sacred Music. The day-long event features jazz, gospel, Indian classical, Israeli music, Bach, Brahms, Britten & more. Nov. 12, 2537 Broadway, 212-864-5400, symphonyspace.org; 2, free.
