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Foreword Five years ago, on this same occasion, I wrote that the world is suffering from an acute shortage of conductors. Nothing has changed in this respect, or at least not for the better. All over the world, a new generation of conductors is taking over our orchestras; the most conspicuous example in this respect is possibly Simon Rattle, due to begin as Chief Conductor and Artistic Director of the Berlin Philharmonic Orchestra in 2002. As I write this, a number of the finest orchestras are seeking a new conductor: the Philadelphia Orchestra, the Boston Symphony, the New York Philharmonic, to mention only the best known. Three leading Nordic orchestras are also facing the same problem: the Oslo Philharmonic, the Gothenburg Symphony and the Finnish Radio Symphony Orchestra. The rise in the artistic and technical standard of orchestras has been astounding in the past few years. Old hierarchies are crumbling or have already toppled: no one nowadays seriously talks about the United States’ “Big Five” as standing in a quality category all of their own, and here in Europe it is no longer necessary to go to Berlin or Vienna to hear superb orchestral playing. At the very top of the pinnacle are a good dozen or more orchestras impossible to rank in any order of superiority, since so much depends on personal preference at this level of performance. I do not believe that the standard of the world’s conductors has, generally speaking, improved apace with that of the orchestras. There is a growing imbalance between orchestras and conductors in terms of excellence. Many of the orchestras in the small towns far from the world metropolises would, under the baton of a good conductor, be capable of so much more than they achieve at the moment in the hands of a conductor whose musical merits are often far below those of his players. How has this come about? Becoming a good conductor is a lengthy process, the road is often strewn with obstacles, and any mistakes and misfortunes tend to be pounced on by the media. Orchestras are less tolerant than they used to be of the talented young maestro who blunders out of sheer inexperience. The first-rate orchestra is less likely to stand for any bungling by a youngster still green and innocent. I am quite sure that if the young Otto Klemperer were to be transported in a time machine from his first rehearsal at the Hamburg Opera (where he faced an orchestra for what was practically, or at least almost the first time in his life) and placed in front of a modern orchestra, he would virtually be thrown out on his ear. Our culture has a greater respect for efficiency, precision and organising skills than it does for originality of thought. Herein lies the heart of the problem: people are either born with an original turn of mind or they are not, but the only way to learn efficiency is by trial and error. Finland is one of the few countries with a steady supply of first-class conductor material. The reasons for this are threefold: First, Finnish orchestras are aware of the importance of encouraging talented youngsters rather in the manner of a long-term investment, without expecting any immediate dividends. I myself was privileged to enjoy the long-suffering forbearance of Finnish musicians for years on end, and now that I have been on the circuit for over two decades, I remember with gratitude the musicians and general managers who were so patient with me and did not throw me out on the street, though the temptation to do so must at times have been great. The second major aspect is the understanding and cooperation that exists between the conductor generations – something seldom encountered anywhere else these days. The members of the older generation have taken it upon themselves to help their younger colleagues in the early stages of their career, both by giving friendly advice and, possibly most important of all, by making opportunities for them to conduct. The young conductors are thus aware of their responsibility when their turn comes to take over at the controls. The third reason hardly needs stating, it is so obvious: the training for conductors is excellent in Finland, thanks to the pioneering work of Jorma Panula. The Sibelius Conductors’ Competition seeks to forge a link between talented youngsters and orchestras. What we are looking for is not sure winners with all the tricks of the trade at their fingertips but talented youngsters blessed with originality who may, with enlightened help and encouragement, one day be great artists. This competition will, I hope, also give our audiences a greater insight into what conducting, an art shrouded in myth and legend, is really all about - something I, too, would very much like to discover. Esa-Pekka Salonen |
The
II International Sibelius Conductors’ Competition