Leonard Slatkin’s Conducting School, Lesson Twelve: Clef NotesRead more
September 15, 2017
Maestro Slatkin uses the Beethoven String Quartet No. 12 to introduce the clefs conductors encounter in their scores, and he explains the importance of transpositions to understanding how the notes sound and fit together.
Just Released: “Leading Tones,” by Leonard SlatkinRead more
September 12, 2017
NOW AVAILABLE: Leading Tones: Reflections on Music, Musicians, and the Music Industry
Purchase Leonard Slatkin’s new book at Hal Leonard Online today!
SEPTEMBER 2017Read more
Finally, a relatively quiet month. I did not conduct one note, write a piece of music or play anything on the piano. Okay, there was some studying, as a few new works are on the horizon, but a real vacation was in order, and I took advantage of this rare occurrence.
After the success of the DSO’s Asia Tour, Cindy and I headed out to California. My wife was one of the featured composers at this year’s adventurous Cabrillo Festival of Contemporary Music. Their new music director, Cristian Măcelaru, scheduled one of her works in each of the festival’s two weeks. It was strange being in the audience, as I had never before heard any of her music conducted by anyone other than myself.
Happily, there was no feeling of jealousy, and it was instructive to hear some different ideas coming from another conductor.
Leonard Slatkin’s Conducting School, Lesson Eleven: What’s the Score?Read more
August 15, 2017
In this month’s video installment of Leonard Slatkin’s Conducting School, Maestro Slatkin delves into the topic of score reading for aspiring conductors.
Slatkin’s New Book, “Leading Tones,” Available for Pre-OrderRead more
August 10, 2017
Leonard Slatkin’s latest book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, is now available for pre-order and will be released by Amadeus Press on September 12, 2017.
Leading Tones glimpses far beyond Slatkin’s baton and casts an inquisitive eye upon many facets of the music business.
AUGUST 2017Read more
What a way to end my concert calendar for the 16-17 season! A three-week Asian tour with the DSO.
This trip was a long time coming. When I began my tenure in Detroit, one of my mantras was that we would not go on the road until we had funding in place. The strike that occurred six years ago meant that we would certainly not hit the tour circuit for a while. But everyone believed that we could meet our goals, and finally, the DSO embarked on an international trip, the first in a very long time.
Preparations were swift, with four rehearsals and a sendoff concert before we departed. As has been my mission with all tours, I featured American music, something most orchestras from the States do not do. With works by McTee, Gershwin, Barber, Bernstein, Copland and Anderson, the homeland was well represented.
Leonard Slatkin’s Conducting School, Lesson Ten: Getting On and Off the StageRead more
July 15, 2017
In this month’s Conducting School video, Maestro Slatkin explains the basics of stage deportment at the beginning and end of a concert.
Rave Reviews for DSO’s Copland Release on NaxosRead more
July 13, 2017
The Detroit Symphony’s latest release on the Naxos label is Aaron Copland’s iconic Symphony No. 3, recorded with the composer’s original coda intact. Reviews of the new recording have been overwhelmingly positive, with critics admiring Maestro Slatkin’s pacing, the orchestral balance, and the poignant, expressive playing of the DSO musicians.
DSO Heads to Asia after a Free Send-Off Concert SundayRead more
July 7, 2017
On July 11, the DSO departs on its historic Asia Tour 2017, a trip that will include the orchestra’s debut performances in China and its first visit to Japan in 19 years. Leonard Slatkin will conduct the DSO in eleven concerts from July 14 to 29, from Tokyo to Shanghai, marking his first overseas tour with the orchestra and the DSO’s first international tour since Europe in October 2001.
JULY 2017Read more
It is very likely that those of you reading this want to know all about the Cliburn competition. Normally, I would have led with that, but on a more personal, as well as musical level, there was a more important day that took place for me.
After six successful years, I led my final concert as music director of the ONL. That is not meant as a boast, but is simply a fact. When I first arrived in Lyon, the orchestra and its administration were facing a great deal of unrest. There was a controversy regarding a cancelled Japanese tour. The management was changing personnel, and the entire institution was under the threat of severe budget cuts.