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Journal of the Conductors Guild Volume 29, Numbers 1 & 2 2009 719 Twinridge Lane Table of Contents Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 E-mail: [email protected] [email protected] Maestro Dean Dixon page 1 Website: www.conductorsguild.org . Advancing the Art and Profession (1915-1976): A Forgotten Officers American Conductor by Rufus Jones, Jr. D.M.A. Michael Griffith, President John Farrer, Secretary James Allen Anderson, President-Elect Lawrence J. Fried, Treasurer Gordon J. Johnson, Vice-President Sandra Dackow, Past President Visionary Leadership and the page 6 Board of Directors Conductor Ira Abrams Claire Fox Hillard Lyn Schenbeck by Nancy K. Klein, Ph.D. Leonard Atherton Paula K. Holcomb Michael Shapiro Christopher Blair Rufus Jones, Jr.* Jonathan Sternberg* David Bowden John Koshak Kate Tamarkin Creating a Fresh Approach to page 12 John Boyd Anthony LaGruth Harold Weller Conducting Gesture Jeffrey Carter Peter Ettrup Larsen Kenneth Woods by Charles L. Gambetta, D.M.A. Stephen Czarkowski Brenda Lynne Leach Amanda Winger* Charles Dickerson III David Leibowitz* Burton A. Zipser* Kimo Furumoto Lucy Manning *ex officio Mussorgsky/Ravel’s Pictures at an page 31 Jonathan D. Green Michael Mishra Exhibition : Faithful to the Wrong Earl Groner John Gordon Ross Source by Jason Brame Advisory Council Pierre Boulez Tonu Kalam Maurice Peress Emily Freeman Brown Wes Kenney Donald Portnoy Score and Parts: Maurice page 43 Michael Charry Daniel Lewis Barbara Schubert Ravel’s Bolero Harold Farberman Larry Newland Gunther Schuller by Clinton F. Nieweg and Nancy M. Adrian Gnam Harlan D. Parker Leonard Slatkin Bradburd Samuel Jones Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Leonard Slatkin Maurice Abravanel Margaret Hillis Esa-Pekka Salonen Marin Alsop James Levine Sir Georg Solti Leon Barzin Kurt Masur Michael Tilson Thomas Leonard Bernstein Max Rudolf David Zinman Pierre Boulez Robert Shaw Thelma A. Robinson Award Winners The publication date of the present issue of Beatrice Jona Affron Kevin Geraldi Octavio Más-Arocas the Journal of the Conductors Guild is Eric Bell Carolyn Kuan Laura Rexroth November, 2010. Effective Volume 13, the Miriam Burns Katherine Kilburn Annunziata Tomaro Journal of the Conductors Guild has been pub- Steven Martyn Zike lished semi-annually, the two issues being Max Rudolf Award Winners numbered 1 and 2; its length remains Herbert Blomstedt Daniel Lewis Otto-Werner Mueller unchanged. Seasonal references cease with David M. Epstein Gustav Meier Gunther Schulle Volume 26. The Conductors Guild reserves Paul Vermel the right to approve and edit all material sub- mitted for publication. Publication of adver- Journal of the Conductors Guild tising is not necessarily an endorsement and Editor Rufus Jones, Jr. the Conductors Guild reserves the right to refuse to print any advertisement. Library of Production Staff Congress No. 82-644733. Copyright © 2010 by Conductors Guild, Inc. All rights Executive Director Amanda Winger reserved. ISSN: 0734-1032. Assistant Director Scott Winger CONDUCTORS GUILD ...Advancing the Art and Profession Mission of the Conductors Guild The Conductors Guild is dedicated to encouraging and promoting the highest standards in the art and profession of conducting. The Conductors Guild is the only music service organization devoted exclusively to the advancement of the art of conducting and to serving the artistic and professional needs of conductors. The Guild is international in scope, with a membership of over 1,900 individual and institutional members representing all fifty states and more than thirty countries, including conduc- tors of major stature and international renown. Membership is open to all conductors and institutions involved with instru- mental and/or vocal music, including symphony and chamber orchestra, opera, ballet/dance, chorus, music theatre, wind ensemble and band. History of the Conductors Guild The Conductors Guild was founded in 1975 at the San Diego Conference of the American Symphony Orchestra League, and it continued for a decade as a subsidiary of that organization. In 1985 the Guild became independent. Since then, it has expand- ed its services and solidified its role as a collective voice for conductors’ interest everywhere. It is supported by membership dues, grants, donations and program fees and is registered with the Internal Revenue Service as a 501(c) 3 not-for-profit cor- poration. Purposes of the Conductors Guild 1. To share and exchange relevant musical and professional information about the art of conducting orchestras, bands, choruses, opera, ballet, musical theater and other instrumental and vocal ensembles; 2. To support the development and training of conductors through workshops seminars, and symposia on the art of con- ducting, including, but not limited to, its history, development and current practice; 3. To publish periodicals, newsletters and other writings on the art, history and practice of the profession of conducting; 4. To enhance the professionalism of conductors by serving as a clearing house for knowledge and information regarding the art and practice of conducting; 5. To serve as an advocate for conductors throughout the world; 6. To support the artistic growth of orchestras, bands, choruses and other conducted ensembles; and to communicate to the music community the views and opinions of the Guild. Maestro Dean Dixon (1915-1976): A Forgotten American Conductor By Rufus Jones, Jr. D.M.A. In the early twentieth century, White European-born This article is intended to introduce a new generation classical performers were the accepted norm to the life and legacy of a great, virtually forgotten in concert halls across America. Black singers African American musician. This fascinating story and instrumentalists were accepted in limited ways will address the painful issues of racism, and often only because of their extraordinary talents. abandonment, self-imposed exile and achieving the However, the thought of American dream abroad. In accepting a Black conductor the end, all of these issues will in any capacity, who could serve as a backdrop to assert musical authority over Dixon’s unquenchable thirst White male instrumentalists, to be the best orchestral was offensive to many and conductor he could be-no opposed at every corner. This matter the sacrifice. Charles intolerance was based on the Dean Dixon was born on understanding that beyond the January 10, 1915 in Harlem, innate musical gifts a New York to West Indian conductor exhibits on the parents who migrated to the podium, he must also possess United States in the early a musical intellect equal, if twentieth century. Life was not superior to those he is hard for his parents. His moth- instructing on how best to er, McClara Dixon, was a full- perform Beethoven, Brahms, time housewife who took on Mozart, etc. In other words, domestic work when times many would not accept were financially tough. His the reality of a Black father, Henry Dixon, received conductor actually having the his education in London, intellectual dexterity needed to lead a professional where he studied to be a lawyer. Unfortunately, he orchestra. From a larger socio-perspective, this would spend his adult life in the States as a hotel acceptance would mean that, potentially, all Blacks, bellman because he was unable to find work in his if given the proper training and opportunity, could chosen profession. Despite their financial difficul- succeed at the same level as their White counterparts ties and overall station in life, they never accepted in any field of occupation. Despite this pervasive the same fate for their son. Henry and McClara were environment of intolerance, Dean Dixon became the determined that young Dean would have a better first internationally recognized African American life. conductor to lead an unprecedented number of professional orchestras in the United States and Dixon was exposed to classical music at the age of Europe. three. One day, following one of their visits to the JCG Vol. 29, Nos. 1 & 2 1 top gallery of Carnegie Hall, McClara swore he saw during a rehearsal at school that would serve as a Dixon walking around their home pretending to play “prophetic challenge” manifesting itself on the violin with two sticks. She wasted no time numerous occasions throughout his career. Dixon’s finding a violin and a teacher to begin his training. stand partner, who was already emotionally injured She purchased a full-sized violin, for $15.00 at a because a “Negro” sat ahead of him, refused to turn Harlem pawnshop.1 At age three-and-a-half, Dixon pages, which of course was the customary thing to could barely hold on to the violin due to its size. This do. Feeling frustrated and embarrassed by this was no small purchase for a family making incident, but at the same time not wanting to cause a approximately $7.00 every two weeks. His mother scene, Dixon decided to resolve this issue the only would say later about this huge sacrifice, “[we] way he knew how. Later that night, he memorized saved from Monday’s vegetables; Wednesday’s his part to all the pieces that would be on slate for washing, and from Saturday’s roast, in order to buy tomorrow’s rehearsal. Unbeknown to him, his stand [our] son a violin.”2 The schedule of three lessons partner had the same idea and memorized the same per week began immediately, and his mother pieces. It was a modern day “face-off”. Both boys monitored all practice sessions. Having taken piano believed that they had the moral high ground and lessons in her youth, McClara was very serious would prevail in the end. Unfortunately for Dixon’s about making sure that classical music was a central stand partner, he faltered after five minutes of part of Dixon’s life.3 Growing up, Dixon was playing from memory and had no choice but to reach prohibited from listening to the radio.
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