Enter Alan Gilbert - Page 4

The New York Philharmonic chose a relative unknown as their new chief conductor. Just before he took up the baton, Alan Gilbert talked to James Inverne about his plans

Alan Glibert - photo Chris Lee

Alan Glibert conducts the New York Philharmonic - photo Chris Lee

And yet, in the absence of a Washington orchestra of similar magnitude, the New York Philharmonic is the closest thing the US has to an official orchestra. Could not oppressive leaders portray a visit as an endorsement? He doesn’t disagree. “I know of one major US orchestra that decided not to go to Kuala Lumpur because of feelings they had about the regime. There is a responsibility. But if you say by definition that you’re not going to countries where there are political issues, there are very few places you could visit! There is a line over which you shouldn’t go – I definitely agree with that – but it’s also a slippery slope if you start to have a litmus test to determine where you should and shouldn’t play.”

Gilbert says little about future seasons but lets slip a few titbits. Lots of opera in concert: “There are operas that don’t need a big stage production and it’s beneficial for a symphony orchestra to play opera.” One will certainly be Messiaen’s Saint François d’Assise – “a magnificent work and it’s appalling that it’s never been heard in New York City”. As for recordings, Gilbert is pushing for an in-house label (though a continuing relationship with DG remains an option) and is planning a Nielsen cycle (his recording of Mahler’s Sixth Symphony with the Stockholm forces is out shortly on BIS).

Alan Gilbert is a thinking conductor. Talk to him about the relationship between maestro and players and he talks to you about “conducting philosophy”. “I try to explain, and it can take years because it’s a complex and subtle dynamic, that the more players can follow the conductor, carefully and unanimously, the more freedom you can have as musicians.”

Discuss the spectre of musicians’ cynicism or burn-out and he reacts with pride: “The best musicians want to be musicians. The better orchestras are better because their musicians are the ones who never lose the appetite and still practise every week.”

Ask whether he wants to bring in other top conductors and he replies with a perceptive question: “What do you mean by ‘top conductors’? The best, or the most famous? I want to bring in the best and forge relationships with them.”

All of which qualities are good, considering he plainly means to be the kind of music director who gets involved, who influences repertoire and artists, and sometimes vetoes them (he talks about delicate discussions with one conductor, known in the industry for selecting difficult-to-market works). As is his equanimity of temper, his refusal to get either overly excited or, one suspects, too cross. All the elements seem to be in place. The first season looks exciting. Now all he has to do is conduct very, very well.