Baton down the hatches

I’d like to change direction a bit for Day 3. Here in Milwaukee we’ve seen lots of assistant-type conductors over the past couple of years (as we’ve been through a search process twice in three years). I’ve found myself very discouraged by the general level amongst young conductors, even those with positions with major orchestras. If, as I believe, this field suffers from a serious conductor deficit, how do we solve it?

Conducting is a unique kind of performance art in several ways. But often overlooked is how hard it is to even begin the learning process. If someone wants to learn how to play viola (and yes, some people actually do), they find an instrument, find a teacher, and go at it. If one wants to learn to conduct, things are much much harder. It’s as if the only aircraft for training pilots were 747s. Not many pilots would get trained that way. And the handful that would get 747 time would be those with chutzpah, money, sharp elbows, good political connections, or some combination therein – not necessarily those with any talent for flying.

So how do we, as an industry, identify conducting talent, train such talent, and then develop it in the field?

About the author

Robert Levine
Robert Levine

Robert Levine has been the Principal Violist of the Milwaukee Symphony since September 1987. Before coming to Milwaukee Mr. Levine had been a member of the Orford String Quartet, Quartet-in-Residence at the University of Toronto, with whom he toured extensively throughout Canada, the United States, and South America. Prior to joining the Orford Quartet, Mr. Levine had served as Principal Violist of The Saint Paul Chamber Orchestra for six years. He has also performed with the San Francisco Symphony, the London Symphony of Canada, and the Oklahoma City Symphony, as well as serving as guest principal with the orchestras of Indianapolis and Hong Kong.

He has performed as soloist with the Milwaukee Symphony Orchestra, The Saint Paul Chamber Orchestra, the Oklahoma City Symphony, the London Symphony of Canada, the Midsummer Mozart Festival (San Francisco), and numerous community orchestras in Northern California and Minnesota. He has also been featured on American Public Radio's nationally broadcast show "St. Paul Sunday Morning" on several occasions.

Mr. Levine has been an active chamber musician, having performed at the Festival Rolandseck in Germany, the Grand Teton Music Festival, the Palm Beach Festival, the "Strings in the Mountains" Festival in Colorado, and numerous concerts in the Twin Cities and Milwaukee. He has also been active in the field of new music, having commissioned and premiered works for viola and orchestra from Minnesota composers Janika Vandervelde and Libby Larsen.

Mr. Levine was chairman of the International Conference of Symphony and Opera Musicians from 1996 to 2002 and currently serves as President of the Milwaukee Musicians Association, Local 8 of the American Federation of Musicians, and as a member of the Board of Directors of the League of American Orchestras. He has written extensively about issues concerning orchestra musicians for publications of ICSOM, the AFM, the Symphony Orchestra Institute, and the League of American Orchestras.

Mr. Levine attended Stanford University and the Institute for Advanced Musical Studies in Switzerland. His primary teachers were Aaron Sten and Pamela Goldsmith. He also studied with Paul Doctor, Walter Trampler, Bruno Giuranna, and David Abel.

He lives with his wife Emily and his son Sam in Glendale.

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