Is nepotism innate to classical music?main
Another article from Jeffrey Arlo Brown in Van, the magazine which goes where other classical outlets fear to tread.
This to start:
Recognition is a basic neural pleasure. The first five notes of “Parsifal” are thrilling if we expect the sixth, an agonized A-flat. Something similar is at work with names like Bejun Mehta, Ken-David Masur, Kristjan Järvi, Michael Barenboim. On albums and concert posters, the names sound like transcendent concerts. They radiate prestige, competence, familiarity, proximity to greatness. “And he’s happy to talk about his father,” a publicist once wrote in an email offering me an interview with Michael Barenboim….
And this to follow:
… many people at the center of classical music life grew up immersed in the culture. To name just a few: the composer John Corigliano’s father, John Sr., was the concertmaster of the New York Philharmonic and a friend of Samuel Barber. Andreas Ottensamer, principal clarinet of the Berlin Philharmonic, is the son of the late principal clarinet of the Vienna Philharmonic (a post Ottensamer’s brother now holds). The parents of the cellist Alisa Weilerstein and the conductor Joshua Weilerstein perform together in the Weilerstein Trio, an ensemble in residence at the New England Conservatory of Music. Nadia Sirota, the violist and host of Meet the Composer, is the daughter of Robert Sirota, a composer and conductor. Matthias Schulz, the artistic director of Berlin’s Staatsoper, recently told a local newspaper that, for his five children, playing an instrument “was as natural a part of their daily routine as brushing their teeth.”
Every classical musician who is not from a musical background has a different story…
Read on here.