Transition moments grab our attention. In London, people line up for hours to watch the ceremony known as “the changing of the guard.” Enormous mental energy and financial resources go into political elections under the guise of creating change. And in the arts world, when major organizations, like symphony orchestras or opera companies, go through a change of leadership, all eyes are on the new leader. Excitement and optimism accompany major transitions and that’s because it isn’t just the proverbial sh… which rolls downhill; it’s also opportunities, vision, direction, tone, purpose, and direction which roll downhill from leadership.
This weekend I have the lucky chance to make music with the newly appointed Musical Director of the San Francisco Symphony, Esa-Pekka Salonen, in the Bay Area’s sneek preview of the maestro who assumes the podium 18 months from now. He has chosen a program that portends an exciting and truly interesting tenure ahead of us: music which is traditional (Sibelius), transporting (Strauss’ Also sprach Zarathustra), and mystical (Thorvaldsdottir’s METACOSMOS). Opening with the Icelandic composer’s profound musical statement of the cosmic realm, from near-silent mystery to raucous, rhythmic dancing, shows a tonal world that speaks directly to our current time of global transition and awareness. Salonen’s conducting of this looks like he’s painting a huge canvas with broad, dramatic strokes. It’s riveting to watch him.
The piece I play, Strauss Also sprach Zarathustra, has, admittedly, just an average-sized organ part and mostly audible for the three beats the organ plays at the conclusion of the famous opening section of the piece. But the chance to be part of this opening event for Salonen, even on a relatively small scale, is truly an honor for me. Everyone in the Hall is eager to make a good impression on the new maestro, and I felt the same way. Being the only musician playing off-stage actually gave me the opportunity to introduce myself to him and tell him where he can find me if he needs to give me directions during rehearsal.
Meeting him in his dressing room, with many others also needing to speak with him, felt like tremendously exciting. This is a man who is known, globally, as a visionary, outspoken about the human condition and a giant of a musician. He happens to be my age although I don’t pretend to have anything close to his life experiences. Nonetheless, I couldn’t help but notice my thrill in shaking his hand, welcoming him to San Francisco, and speaking briefly about the Strauss piece itself.
The position of symphony organist is not an appointed position. As reviewer Joshua Kosman commented to me once, I’m their “go-to” keyboard player even though I’m not listed in the program as the symphony’s Organist. Different symphony orchestras have different takes on including an organist on the roster. Regardless, I feel tremendous gratitude and thrill at the responsibility and opportunity to engage with quite literally some of the finest musicians in the world. The experience molds who I am.