Classical Crossroads is a well reasoned and informative exploration of the future of live performance by a guy who certainly knows what's what in that world. Due out 15th Sept 2021 from Rowman & Littlefield on their Amadeus imprint, it's 240 pages and will be available in hardcover and ebook formats.

This was such a fascinating look behind the scenes into the inner workings of an orchestra as a living breathing entity. Maestro Slatkin describes the machinations and effort involved in conducting (including some illuminating truths on the philosophy, personalities, venues, and trappings which go into making a polished concert performance).

He moves in concentric circles outward from the conductor, to the orchestra, to the agents, soloists and others who are involved, through the repertoire, musical selection and composers, outward to the media and finally to the recipients of this Brobdingnagian effort, the audiences. He examines how the audience itself has changed through the 21st century (for better or worse) and how (and if) performance should change to revitalize to face an uncertain future.

Some of the content written into the book arises from comments written on Slatkin's own website discussion threads. Most of the commentary is reasoned and interesting, some is slightly contentious. The book is well annotated throughout and the links and sources will provide keen readers with hours of further exploration and rumination.

All in all, I loved reading the personal anecdotes and recollections and I also enjoyed contemplating the issues the author discusses. I fear for the future of live performance, especially with the pandemic raging, and only hope that we can soon enjoy live concerts again and into the future.

Four stars. Well written and interesting.

Disclosure: I received an ARC at no cost from the author/publisher for review purposes.

In March 2020 we were excited about having tickets to two more concerts with the Detroit Symphony Orchestra [DSO], especially for the Carmina Burana directed by DSO emeritus music director Leonard Slatkin. We love choral music and had sung the Orff choral piece with two different choirs.

But we were also extremely concerned about going to a concert hall. The Covid-19 pandemic had reached Michigan. When Governor Whitmer shut the state down, we mourned for the concerts we would never see, but were also grateful to stay home and stay safe. Which we did for a year.

Over that year, I read Slatkin’s blog posts addressing the crisis and the changes the music world was making. We watched the DSO online. I attended ‘Watch Parties’, enjoying the comradery among the musicians who participated by commenting on the music. I checked into Facebook to see DSO instrumentalists play from their homes.

In February 2020 we had ordered tickets for the 2020-21 season. We were so excited about the music and the new director Jader Bignamini. The concerts were cancelled, and we were given credit on our account for the costs. February 2021 we ordered season tickets again, and have huge hopes that this October will see the pandemic under control, and being vaccinated, we will be able return to the concert hall without fear.

But what will that venue look like now? What changes will a pandemic have made on how concerts are organized and run?

Slatkin’s third book is partly comprised of his pandemic era blog posts. But he addresses a lot more in the book. He is envisions possibilities for the future of orchestral music.

Some of the chapters are geared specifically to musicians and music directors. I am, of course, neither, but being eternally curious was interested to understand more about the inside story of what has to happen before I join the audience, and also the issues music directors must deal with.

Aspects of the book that will appeal to the general public include Slatkin’s ideas for expanding and incorporating music education into public school curriculum and how technology offers new ways for orchestras to reach new audiences.

Slatkin’s personality comes through these essays. As he notes, now he is retired, and out of the political aspect of being a music director, he is free to openly express his opinions about everything, including politics.

Slatkin’s background is fascinating. His parents were both musicians in Hollywood and celebrities such as Frank Sinatra were often in his home. We enjoyed how his love for jazz and American music impacted his selections at the DSO, especially his last season.

I received a free galley from the publisher through NetGalley. My review is fair and unbiased.