International Conductors' Academy of the Allianz Cultural Foundation

International Conductors’ Academy of the Allianz Cultural Foundation The International Conductors’ Academy 2003–2012 A platform for a new type of conductor utstanding conductors Academy at London’s Southbank Centre are not only exceptional was set up not only to prevent a shortage of artists, but also, in every qualified experts at the conductor’s desk but way, modern leadership also to provide a platform for a new type of personalities. Their conductor. This provided the young conductors approach is, in fact, quite with the chance to progress personally between similar to that of political and economic experiment and repertoire and to expand their Oleaders: the complexity of large ensembles own global networks. For the participating nowadays more and more resembles that conductors this ‘intermediate level’ was not of internationally composed and globally only a last pause on their career ladders operating companies building an ever-increasing before beginning their international careers International Conductors’ Academy range of products and distribution channels. but also an intense and unforgettable group of the Allianz Cultural Foundation Different temperaments and cultural dynamics, experience, which conductors and other leading instrument groups and soloists must be brought personalities alike rarely get to enjoy. together in harmony (or calculated disharmony) Therefore, on behalf of the members of our to create a unique sound experience at the boards and staff of our Foundation, I would like highest artistic level. Young conductors are to express my sincerest thanks to all participants unlikely to learn this combination of empathy and partners of our International Conductors’ and assertiveness, artistic flair and practical Academy, foremost especially the orchestras knowledge at universities or in conducting themselves, their current Chief Conductors classes. Therefore, the International Conductors’ Esa-Pekka Salonen and Vladimir Jurowski, Academy annually offered three talented young as well as their Executive Directors David conductors, whose centre of life is Europe, Whelton and Timothy Walker, for the successful the unique opportunity to rehearse with two collaboration. Together with Karsten Witt and of the most prestigious orchestras. In 2003, Peter Ruzicka, who have generously served our the Philharmonia Orchestra (PO), under the boards as experts, they have given European direction of Christoph von Dohnányi, and the co-operation a new sound through this unique London Philharmonic Orchestra (LPO), under and international artistic project, and have thus Kurt Masur, launched the initiative to ensure © Ben Ealovega given a larger audience the chance to hear it. that the most talented young conductors were accompanied by experienced maestros during Michael M Thoss a masterclass and taught how to direct an Managing Director orchestra. This worldwide unique Conductors’ Allianz Cultural Foundation 01 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 Conducting – “ The important thing is that one should let the orchestra breathe” a strange business? Otto Klemperer (1885–1973) t took the German tax office to bring to technique of conducting. They practise in front light that conducting is not what it seems. of the mirror, conduct their fellow conducting Since the days of Herbert von Karajan, students at the piano, and play scores on the the public has regarded the conductor as piano themselves. But throughout most of a kind of magician, who produces sounds their student lives they must wait for their true with his fingertips, and shapes them with instrument: the orchestra. Once they step in his eyebrows and the rest of his body. During a front of an orchestra, they are confronted with Iperformance, the orchestra appears to follow his very different problems from those for which command like an army following a general. But they have been preparing. Their job is not a few years ago, when a reduced VAT rate was merely to uphold the composer’s intentions as granted to performing artists in Germany, the laid out in the score, set the tempi, explain the tax office initially denied this special status to phrasing, and correct mistakes. Suddenly they conductors. Even though this stance was later find themselves bearing the full responsibility corrected by the courts – did the taxman not of leading a group of 12 to 120 people. They in fact hit a nerve? Just like stage directors and must organise, inspire and motivate the “team” choreographers, who are considered backstage much like a manager, and are faced with the task personnel along with designers and technicians, of integrating people of different nationalities conductors play a key role in the rehearsal and generations. Like a teacher, they must process. In performance, however, they do not exert discipline, provide challenges for the top © Ben Ealovega play an instrument as the musicians do, and musicians, and look after the weaker ones. therefore they don’t (or should not) produce Just like in management or politics, it takes more present at all rehearsals and concerts. The The leader of a large group is not granted any any sounds themselves. They may give cues like than just good academic training to become assistant conductor prepares the music material time to adjust to his task. He must do the job a stage manager, and anticipate certain phrases a skilful conductor. One needs professional and takes over the podium when necessary. He right from the first second, or face rejection. like a prompter at the theatre. Nonetheless, their experience, in addition to the proper aura and learns from his ‘master’ and is gradually guided A young conductor is under constant scrutiny movements do not form an essential part of personality. The communication skills needed to into the profession. This is the current model from day one. Any insecurity, be it musical or the artwork that is being performed, as it would deal with the musicians, audiences, politicians, adopted by the Principal Conductors for both social, will provoke resistance. During rehearsal, in the case of a dancer. Consequently only the and sponsors can only be learnt in practice. the London Philharmonic and Philharmonia there is nowhere to hide and no time to recover; members of the orchestra can properly watch The number of first class orchestras worldwide orchestras (especially for large-scale projects), two or three times per day, for three hours, he the conductor, while the audience only sees him is constantly increasing. Musicians begin their Vladimir Jurowski and Esa-Pekka Salonen, but is under the surveillance of the musicians that from behind. Even the musicians, spend most professional training at an ever younger age, and generally in Europe this practice is less common. sit before him. Sections of musicians must often of their time looking at their music, where they even youth orchestras around the world perform A young conductor, who may only have sit idly while their colleagues practise a certain obviously find the more relevant information. at a technical level far superior to that of most conducted a proper orchestra a handful of times phrase, and they have nothing else to do but professional orchestras a few decades ago. during his studies, must fulfil his role as leader Conducting is a strange business and it is watch the conductor. Although the musicians Given that all these orchestras rely on first class properly – or fail. He is typically not used to extremely difficult to learn. At the conservatoire, may be nice and rational as individuals, as a conductors, it seems surprising how little they receiving serious criticism by anyone but some conductors are treated like other musicians. group they can be ferocious and merciless. invest in their future leaders. personal friends. There are many masterclasses They study one or more instruments, as well as It usually takes them only a few minutes for students, but once a young conductor is on music history, solfège, and many other useful to pass their verdict on a new conductor. In American orchestras, chief conductors the job, he is on his own. subjects, the most important of which is the typically have an assistant conductor who is Continued overleaf… 02 03 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 “ You must have the score in your head, not your head in the score” Hans von Bülow (1830–94) The Allianz Cultural Foundation was founded This selection process involved discussions professions, including agents, publishers, recording in 2000 with the aim of promoting cultural and with music colleges and conservatoires companies, composers, promoters and many educational projects in the spirit of European internationally, requests for recommendations other music professionals. In this way, we aimed to integration. In 2001, the newly appointed from established conductors, agents, orchestral foster a greater understanding of the complexities Kuratorium started its work. Hans Ulrich managers, teachers, close scrutiny of finalists in of the music business and prepare our young Obrist, the current director of the Serpentine conducting competitions and word of mouth. conductors for future artistic leadership roles. Gallery, was also a founding member. We The final selection fell to the respective Maestros We certainly felt it was a valuable two-way process: quickly agreed that we wanted to support Masur and Dohnányi and to David Whelton the conductors were taken

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