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US orchestras doing big business on the transfer market

David Geffen Hall (Wikimedia Commons)

Kevin Durant, Kyrie Irving, Enzo Fernandez and ….. Gustavo Dudamel? Winter trades and transfers offer flavorless title races some much-needed spice. And as basketball and football have seen shakeups, so too did the music world. Gustavo Dudamel — Venezuelan superstar conductor, hair model, and longtime music director of the LA Philharmonic — will switch coasts in 2026 and take up the helm of the New York Philharmonic.

“Of course!” you say. “Of course he’s doing it! Biggest job in the land! The biggest stage!” and you would be right. But this is more than a trade. We’re looking at an aggressive maneuver by a normally cautious organization to bring some left-coast swagger to the rotten apple.

The one who landed the plane here is NY Phil President and CEO Deborah Borda, the woman responsible for bringing Dudamel to the LA Phil in 2009. Borda jumped to Lincoln Center in 2017, and like a coach recruiting their favorite players — Mourinho texting Nemanja Matic to come to Roma, Ten Hag demanding the Glazers sign Antony — Borda worked Dudamel, gave him the big speech, ran down the list of predecessors (Toscanini, Mahler, Bernstein, etc.) and showed Dudamel where his name belonged. It worked.

This has been referred to as some kind of coup d’etat but if it is then it’s history’s slowest. In the classical music world plans are choreographed years in advance, and as a result both cities have a surfeit of time to prepare for the switch. (Much more interesting would’ve been for Dudamel to show up at Lincoln Center some packed Friday night and swagger out to the podium like AJ Styles at the 2016 Royal Rumble. This is the world I want to live in.)

Concomitant with this blockbuster signing is the speculation about the next conductor to take over at Walt Disney Hall. Alex Ross tips Finnish conductor Susanna Mälkki as a front-runner, having already worked with the orchestra. Other hopefuls include Mirga Gražinytė-Tyla, who helms the City of Birmingham Symphony Orchestra; Mexican conductor Alondra de la Parra (the board should note her light, mostly European schedule right now); and — although it’s hard to say why — even former LA Phil director Esa-Pekka Salonen.

Who knows! Asking the prevailing internet oracle for insight into the search process yields an unappetizing word salad. Still, and to be fair, this is about the same response you get from the LA Phil PR department right now.

Thanks, we will surely check the orchestra’s website and social media accounts.

All this aside, three cheers for reddit user r/slylad, who correctly predicted the Dudamel selection weeks before it was announced.

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How the ‘Big Five’ American Orchestras Crawled onto the World Wide Web

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The early nineties were a magical time to be online. You could never predict what you’d come across: dancing text, indecipherable fonts, busted links, page elements all the colors of the rainbow, and grainy photos loading pixel by painstaking pixel. That is, if you were able to get there at all. After the agonizing desktop start-up ritual — a procession of clicks and whirs, the labored whining of vent fans and spinning disk drives, mysterious bloops and beeps — you’d mash the internet icon with too many clicks, await the inimitable sound of a dial-up modem as it called down the line, and then, no small miracle, you’d be online.

Tim Berners-Lee invented the World Wide Web in 1989 as a way to formalize gathering places, websites, on the internet. But what began as a charming haven for coders and explorers morphed into a commercial feeding frenzy for brands and hucksters. The web was particularly well-suited for classical music fans, but like other pursuits it worked even better for marketing and sales. While diehard collectors traded bits of classical ephemera on message boards, every big classical music outfit jumped online to flog tickets, subscriptions, and CDs.

Below you’ll see the first forays onto the web for the so-called “Big Five” US orchestras: the first websites for the Boston Symphony, the Chicago Symphony, the Cleveland Orchestra, the New York Philharmonic, and the Philadelphia Orchestra. These are maybe not the very first images of their sites — the majority come from 1996 onward, and certainly none exist from the web’s inception in 1989. However, they are the oldest remaining snapshots available on the Internet Archive Wayback Machine. They are artifacts that remind us, at least from the commercial side, how this all began.

Let’s roll the tape.

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Out in orbit

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The newest installment in our ongoing playlist series is here, and it’s called Out in Orbit. It’s chockablock with good-ass releases mostly from this year or last. It features throat singer Tanya Tagaq, Schoenberg, Bartók, Caroline Shaw, Brian Eno, and many more.

Here are not one but two previous installments in the series in case you want more. We all want more.

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Classical music winners at the 59th annual GRAMMY Awards

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Here’s your list of GRAMMY nominees and winners. Most of these are classical music categories, but I’m also including fields where classical artists beat non-classical (how nice). For the full list head to the official GRAMMY site.

Winners are in bold.

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The City of Birmingham Symphony Orchestra has a new music director

TYLA

Sir Simon Rattle conducted the City of Birmingham Symphony for 18 years. After him, Sakari Oramo and Andris Nelsons both held the position.

Now it’s Mirga Gražinytė-Tyla’s turn.

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Here are your classical link lifelines

Flickr: armchaircaver

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Should I be watching ‘Mozart in the Jungle?’

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A while back a CDA reader recommended I read Blair Tindall’s book Mozart in the Jungle for a look at the seedier side of classical music. I never got around to it, unfortunately. The book was turned into an Amazon TV series, nabbed Bernadette Peters & Gael García Bernal to star, and turned into a hit for Amazon TV.

But wait — the show’s won a couple Golden Globes, and classical stars like Lang Lang & Gustavo Dudamel have made MitJ cameos? Okay, I’m paying attention. Should I be watching this?

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Hilary Hahn on the unbreakable teacher-student bond

I highly recommend reading violinist Hilary Hahn’s Slate piece about her two favorite music teachers — Klara Berkovich & Jascha Brodsky.

When Mr. Brodsky fell ill at 89, I visited him at a care center. Two nurses brought him to a large room, and he sat at a conference table. I assumed we were only there to chat, but I had my violin with me just in case. Sure enough, one of his first questions was, “Sweetheart, what did you bring to play for me today?” I reminded him of the repertoire I was working on, and he proceeded to give me a two-hour lesson. He leaned forward in his chair, singing examples, shaping my phrasing with interpretive gestures, and interrupting me to offer suggestions and corrections. For Mr. Brodsky, teaching was an unstoppable impulse.

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The Vultures of the Potomac

If I were in the National Symphony Orchestra I’d be chafed at Anne Midgette right now.

Anne Midgette is chief classical music critic at the Washington Post, and she’s got strong words for her city’s resident orchestra, which is in the middle of a search for its next music director.