For orchestral musicians, certain fundamental expectations are non-negotiable. Musicians must be capable of executing the correct notes in the proper sequence, drawing on a blend of technical proficiency, artistry, skill, and comprehension that requires years, if not decades, of dedication.
However, on the orchestral stage stands a pivotal figure who, despite being deemed the most significant person in the ensemble according to the established hierarchies of classical music, remains silent: the conductor. Tasked with guiding the performance, the conductor appears to merely wave their arms in sync with the music, yet this role is far more complex than it seems.
A professional conductor must possess an in-depth understanding of every musical line and strive to elevate the performance beyond a mere repetition of the rehearsal, crafting a unique experience with its own energy, structure, and narrative. Interestingly, many professional orchestras could perform a majority of their repertoire without a conductor. The best conductors, however, provide an essential spark of inspiration that enables musicians to reach heights unattainable on their own.
As Hungarian violinist Carl Flesch aptly pointed out, entering this profession can be alarmingly easy for impostors.
At 78, Mandle Cheung, a businessman and founder of the Mandle Philharmonic in Canada, describes himself as an amateur conductor and shuns the title of “maestro.” His passion for music, especially Mahler, allows him to lead renowned orchestras, primarily because he can financially support these ensembles. Last year, he conducted the Toronto Symphony in Mahler’s Second Symphony and has plans for more Mahler performances with European orchestras. His next endeavor will occur on August 21 at London’s Alexandra Palace, where he will conduct the Royal Philharmonic Orchestra, along with soloists Elizabeth Watts and Jennifer Johnston, and the Brighton Festival Chorus in a rendition of Mahler’s Second Symphony.
Cheung paid approximately C$500,000 (£264,000) to conduct the Toronto Symphony, and his representative has confirmed that he is compensating the Royal Philharmonic Orchestra for a similar opportunity, although the exact amount has not been disclosed. An RPO spokesperson stated, “We do not disclose fees for concerts.” This situation highlights the precarious financial state of orchestras on both sides of the Atlantic, as they accept Cheung’s funding, potentially jeopardizing their reputations with musicians, audiences, and sponsors by allowing a non-professional conductor to tackle one of the most esteemed works in the classical repertoire. Mahler’s Second Symphony is renowned for its grand scale and spiritual depth, encompassing a journey from a somber funeral march to a vision of resurrection, making it one of the most intricate and powerful compositions available.
Cheung himself has recognized the complexities surrounding this arrangement, discussing his experience with the Toronto Symphony in an interview with the New York Times last year. “These are great musicians, and they work really hard all their life to become a player in a professional symphony orchestra,” he remarked. “And then somebody who’s not a recognized conductor just walks in and writes you a check and starts conducting you.”
This situation illustrates a broader narrative that transcends the vanity of a wealthy individual, a story that is not new. Gilbert Kaplan, another businessman and philanthropist with a similar obsession for Mahler’s Second Symphony, conducted and recorded the piece with the London Symphony in 1987 and later with the Vienna Philharmonic, released by Deutsche Grammophon in 2002. The allure of this symphony seems to resonate with the power ambitions of affluent individuals—perhaps it reflects a desire to control orchestral forces and guide them towards the transcendent conclusion of the symphony, much like building a spacecraft for Mars exploration.
This trend transforms Mahler’s music into a lavish, ego-driven spectacle, focusing on the fulfillment of the powerful rather than preserving the spiritual essence of the work, reducing it to yet another commodity for purchase.
Throughout history, orchestral music and opera can be viewed as indulgences for the wealthy, ranging from the English court’s Chapel Royal to Prince Esterházy’s orchestra, which was instrumental in the development of Joseph Haydn’s symphonies in the 18th century. This notion can also be linked to the affluent philanthropists supporting the arts in the United States since the 19th century; even state-sponsored arts funding in Europe can be seen as a similar principle of promoting an extravagant luxury through taxation. Within this context, what is the harm in someone renting an orchestra for a night to realize their dreams?
On an individual basis, one might argue that these concerts, where wealthy patrons can conduct, are not inherently problematic. If someone has the financial means and talented musicians are willing to perform Mahler for them, that is their prerogative. However, it is essential for audiences to understand what they are purchasing tickets for at Alexandra Palace—there is no indication on the RPO’s website that this performance will feature an amateur conductor leading a professional orchestra and soloists.
Sarah Bardwell, managing director of the RPO, stated, “The RPO takes pride in offering life-changing musical experiences to people from all walks of life, and the orchestra is looking forward to welcoming Mandle Cheung to the podium this summer. Classical music is for everyone, and this special one-off summer concert will fulfill a dream for a great Mahler enthusiast, while materially supporting our community and education work for the new season.”
While I share a desire to conduct the RPO, I suspect that my passion and enthusiasm for Mahler alone would not suffice; I was unaware that UK orchestras were involved in fulfilling the bucket list aspirations of affluent businessmen. The community and educational initiatives that the orchestra supports are undeniably valuable, yet one cannot overlook the implications of allowing such dynamics to unfold in the concert hall.
