like that was going to happen. The Ernest I knew and loved was cantankerous, sometimes difficult, and very demanding. I loved him a lot and miss him very much. —Frank Gehry, architect, Walt Disney Concert Hall, Los Angeles
I first became aware of Ernest Fleischmann in 1966 in Istanbul, where I was a staff member on tour with the Cincinnati Symphony Orchestra. It was my first orchestra job and our concert promoter was full of stories about this brilliant, visionary, capable, and difficult manager of the London Symphony Orchestra, which had just been in Istanbul. When Ernest was hired in 1969 as manager of the Los Angeles Philharmonic, I recall hearing exactly the same descriptions about him. Over the next 35 years, our paths crossed frequently and I saw firsthand that
Ernest lived up completely to his reputation. It also became crystal clear that he was deeply fond of and knowledgeable about music. Our best discussions were about music, conductors, orchestras, composers, and artists. We dissected programs, debated individual pieces, and sparred over the future of orchestras. But beneath it all, Ernest understood that for an orchestra to be successful, music had to be at the very center of its psyche. And Ernest practiced supremely what he preached. The results are widely evident in the renown of the Los Angeles Philharmonic, the success of the Hollywood Bowl, the impact of Disney Hall, the brilliance of choices in music directors—Esa-Pekka Salonen, as well as Gustavo Dudamel, whom he encouraged Deborah Borda to pursue as Salonen’s successor—and the ongoing tradition of the Ojai Music Festival, where he was artistic director from 1998 to 2003.
Ernest Fleischmann was quite simply a force for music. He fought for institutions he believed in; he worked tirelessly; he cajoled; he lectured; he charmed; he bullied; he traveled; he loved great wine and wonderful food. But no matter what relationship one had with him—and we all experienced an amazing range of relationships—at his core, he believed fervently in music, and everything he did was centered around that purpose. For that profound lesson, I am deeply and lovingly in his debt. —Thomas W. Morris, artistic director, Ojai Music Festival and Spring for Music Festival; former executive director, Cleveland Orchestra (1987-2004)
How is it that the author of the famous 1987 speech “The Orchestra is Dead” managed the liveliest orchestra in America? Ernest Fleischmann was inimitable in the true sense of the word—
January 5–14, 2011 New York City
It’s orchestra boot camp. Managing an orchestra today takes strength, dedication, perseverance and a passion for music. Essentials of Orchestra Management is a ten-day journey that will prepare you for the challenges orchestras are facing today and tomorrow. Arming yourself with the vital skills you need to be a great leader is the foundation for a great organization. While orchestra management will be the toughest job you’ll ever love, Essentials is what you need to excel. Only the truly passionate need apply by November 1, 2010. Visit americanorchestras.org for more details. Seminar Directors: Brent Assink, executive director, San Francisco Symphony; Deborah Rutter, president, Chicago Symphony Orchestra Orchestra Leadership Academy seminars are made possible by grants from The Andrew W. Mellon Foundation, Argosy Foundation, The Hearst Foundation, Inc., National Endowment for the Arts, and Con Edison.
americanorchestras.org
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