Sigma Alpha Iota

26 Winter 2025 • sai-national.org A GREAT SONG By Ursula Weigert Pacific Press Publishing Association, 2017 B efore I read page 199 of the 253 pages in A Great Song by Ursula Weigert, the only English biography of Maestro Herbert Blomstedt, I already had known— without a doubt—he embodied kindness and respect. Incidents mentioned in earlier chapters substantiate other sterling virtues: devotion, honesty, humility, conscientiousness, friendliness, sympathy, diligence, self- discipline, and magnanimity. In the book, Eckart Haupt, solo flutist of the Dresden Staatskapelle, succinctly described Blomstedt this way: "The five elements that have made him the man he is are musicality, intellect, concentration, discipline, and experience." The book includes narrative based on Blomstedt's diary, including this entry about his father: "I am very grateful to him, for these few fundamental attitudes and principles, but have guided me through life: honesty, loyalty to God and men, the responsible use of time and money." Ursula Weigert, a freelance writer (who originally wrote the book in German for friends), saved the best part of the book for last: Blomstedt's autobiographical reminiscences. He comments on what he learned from his orchestras (one by one) and his teachers who were esteemed role models. (It is apparent from later happenings that he also touched their lives in special ways; confirming this point are their gifts to him, such as gold cufflinks and Nielsen scores.) He enumerates specific talents and strengths of many fine musicians in his orchestras. Obviously, Maestro's memory is full of more than music! He also lets readers know why he is a Christian, a Seventh-Day Adventist, to be exact. In the book's introduction, Blomstedt explains briefly why he selected poet Rainer Maria Rilke's words for the title. Recently in the Windy City when he and I met for dinner after a Chicago Symphony Orchestra rehearsal, he expanded on the reason for this choice. Based on discoveries both personal and professional from his interviews and diaries, the book shares happenings in his family and career and also presents his views on many subjects. Early on, Blomstedt pinpoints the exact spot where his love of music began. It was while attending an orchestral concert in a park in Vienna: "There for the first time, I became fascinated by symphonic music." This fascination has never ceased. He relates why he chose a career as a conductor rather than as solo violinist. At the time of publication of this biography, Blomstedt was honorary conductor of seven leading orchestras as well as the first conductor laureate of the San Francisco Symphony. Blomstedt was born in the United States and had dual citizenship until 1948; however, during the McCarthy era, casting his vote in a Swedish election was an act considered hostile enough for him to lose his US citizenship! The extraordinary number of concerts, premieres, and tours was mind-boggling; however, it would have been simpler for me to process these statistics if they had been written in lists rather than within paragraphs. During his decade in San Francisco alone, he performed thirty-eight American works, including twelve world premieres of commissioned works. He also was involved in the community—even throwing out the opening pitch at a San Francisco Giants game. Always thorough in his study and preparation, he once found a printing error in the score of a composer's new piece! In response to disasters, such as earthquakes and tsunamis, he has organized benefit concerts. On tours, he rode on the bus with the orchestra, chatted with players, and even invited them to eat with him. He is not egotistical but rather compassionate; one evening he invited a homeless man to join him at a concert. Another time, he befriended a young man who asked directions in broken German. Blomstedt narrates the entire touching encounter and its blessing. Music-making is never just about him. According to Eberhard Steindorf, a former concert dramaturge in Dresden: "During the final applause, he preferred to stand among his musicians, and when they left the stage, he was waiting backstage to shake hands and thank them personally. He always gave his best and expected the same from the Staatskapelle—regardless of whether the hall was sold out or not." Meraviglia-Crivelli in Zurich remembers: Maestro was "completely unpretentious, being genuinely focused on what's essential and significant, with inexhaustible curiosity and openness towards other people. He exemplifies reaching out to others. But he does not flaunt his feelings. Many conduct for the camera, for the audience, but he is there to entirely serve the music. He doesn't stand above it or in its way." The biographer writes Blomstedt is patient and soft-spoken. Northern German Radio announcer Philipp Cavert, my friend who is a longtime Blomstedt admirer, gave me this firsthand account: "The orchestra loves his singing during the rehearsals, always with a wink. Blomstedt once told me that his interaction with musicians had always been based on friendliness and a refined sense of humor." With a talent for acting and comedy, he sometimes tells great stories and funny anecdotes at rehearsals. No doubt, he appreciated the 2007 limerick his fan Dr. Peter Neumann wrote: "The venerable Maestro from Sweden Has long mastered score readin'. Almost eighty in years, He always draws cheers From every group he's leadin'." Each chapter concludes with end notes, but I would have preferred footnotes at the bottom Bk Reviews

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