Classical Music Is in Crisis. Gustavo Dudamel Is Here to Save It.
This week marks the start of the Gustavo Dudamel era in New York.The superstar conductor was just 28 when he became the musical director of the Los Angeles Philharmonic in 2009. A native of Venezuela and a product of its El Sistema musical training program, Dudamel quickly established himself not just as a great conductor, but also as a cultural force of nature. In his time in Los Angeles, he expanded the Philharmonic’s repertoire, created a successful youth outreach program, won prestigious awards and ingratiated himself with Hollywood elite.Now, after 17 years in Los Angeles, Dudamel is taking the helm at one of the world’s most famous and storied orchestras: the New York Philharmonic. It’s a job once held by Leonard Bernstein, and Dudamel is hoping to follow in Bernstein’s footsteps to make the Philharmonic and the music that it plays a bigger part of the pop culture landscape.On today’s episode, Joshua Barone, who covers classical music for The Times, discusses Dudamel, what he’s accomplished and the high hopes for his tenure with the New York Philharmonic.Music Featured (in order of appearance, all conducted by Gustavo Dudamel):Johann Strauss, Tik-Tak Polka, Polka Schnell, Op. 365, Weiner Philharmoniker (Sony Music Entertainment)Dmitri Shostakovich, Festive Overture, Op. 96, Simón Bolívar Youth Orchestra (Deutsche Grammophon)Gustav Mahler, Symphony No. 5 in C-Sharp Minor IV. Adagietto, Berlin Philharmonic (Berlin Philharmonic Recordings)Antonin Dvorak, Symphony No. 8 in G Major, Op. 88, B. 163, III. Allegretto grazioso- Molto vivace, Los Angeles Philharmonic (Deutsche Grammophon)John Williams, “The Imperial March” (From “Star Wars: Episode V — The Empire Strikes Back”), Los Angeles Philharmonic (UMG Recordings, Inc)John Adams, “En un Día de Amor Yo Bajé Hasta la Tierra,” The Gospel According to the Other Mary, Los Angeles Master Chorale and Los Angeles Philharmonic (Deutsche Grammophon)Gabriela Ortiz, “Kauyumari,” Los Angeles Philharmonic (Platoon)Ludwig Beethoven, Symphony No. 7 in A Major, Op. 92, IV. Allegro con brio, Simón Bolívar Youth Orchestra (Deutsche Grammophon)Thomas Adès, “XII. The Thieves — devoured by reptiles,” Dante, Los Angeles Master Chorale and Los Angeles Philharmonic (Nonesuch Records)Ludwig Beethoven, Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio, Simón Bolívar Youth Orchestra (Deutsche Grammophon)Ludwig Beethoven, Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio, Simón Bolívar Symphony Orchestra (self-released)Leonard Bernstein, “End Credits” and “The Dance at the Gym: Mambo,” from “West Side Story” (Original Motion Picture Soundtrack), Los Angeles Philharmonic and New York Philharmonic (Hollywood Records)On Today’s Episode:Joshua Barone is an editor for the Culture section of The New York Times who works on classical music and dance coverage. He also writes criticism about classical music and opera.Background Reading:Gustavo Dudamel’s Long Goodbye to L.A., and Long Hello to New YorkWhat Makes Superstar Conductor Gustavo Dudamel So Good?Photo Credit: James Estrin/ The New York Times
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