RCEditions

Andrew Davis conducted the Boston Symphony the first time I played Rachmaninoff Symphonic Dances, after I had heard a Seiji performance in 1974 or 75 as I remember, as a very fast one. Davis' performance was so smart, slower and so well thought out with long lines, and SOUL. It was plenty exciting without 'speed.' I fully believe that speed is the single most overrated and abused musical element. Indeed it is the least important of all the musical elements.

Michael Tilson Thomas is a genius. I first performed with him in 1979 in Alban Berg's complete opera Lulu American Premiere (including completed 4th act). Michael knew the score so well, and I believe completely by memory, and was so prepared that could hear everything all the time, no matter how complex, and address immediately if anything went amiss. From his example I vowed to always be prepared for him (and anyone else), as I didn't want to waste his or anybody else's time with a stupid mistake in a work with limited rehearsal time, and which we all wanted to be memorable. It never made me nervous to play for him, I always looked forward to it and he is clearly one of the greatest of all American conductors, combining charisma, sensitivity, passion and intellect in Bernstein proportions.

Sarah Caldwell was a conductor of limited technical ability, and not a particularly nice person (although I must she was very nice to her mother, who attended most of the Opera Company of Boston rehearsals). But I learned that for people like Sarah, that their love of the Art, and desire to express something beautiful was sincere, whether they were 'nice' people in everyday life or not. She used personal insults to members of the orchestra about tone, ability to express ourselves through music, and even threatened to 'kill' individuals if a mistake was made. But, as bass clarinetist (and saxophonist) of the orchestra, I loved being part of her visionary and memorable performances. We all knew she had very special vision and we rallied around her because we believed in the production. I had the opportunity to accompany the arias of Shirley Verrett, James McCracken and Simon Estes (just to name a few), while all were in their prime (or in later years, and still able to summon up the same abilities). Who could ask for more than that. And, with Sarah, it didn't matter whether you liked her, or she liked you; we just wanted to help create something of lasting beauty. We used to run to the bank to cash our opera checks, as we knew she didn't have enough money to cover all of our contracts. Those were the 'good ole days.' Even if we were paid a YEAR later, that was OK.

A Salute to (My) Teachers

4. Conductors, Pianists, Composers and other related inspirations (cont.)