In case you thought music only got political in the 1960s, allow me to disabuse you of that notion. The great composers whose music fills concert halls these days were often very politically active and weren’t shy about expressing their politics in their music.
It’s every orchestra manager’s nightmare: just a few days before the scheduled performance of a virtuoso showpiece the soloist gets sick and a replacement must be found. And not just any replacement; it has to be someone who knows the piece and has the chops to pull it off.
David Robertson's on-stage introduction to Philippe Manoury's "Synapse", for violine and orchestra, made more sense than the composer's own description, which fluttered about such terms as "blocks", "formulas" and "specific grammar" without really explaining their true meaning. However, Robertson's substantial personal charisma seemed insufficient to make such a piece palatable to what was easily the sparsest audience in memory at a St. Louis Symphony concert.