In 1991, a few months after my book The Maestro Myth was published, I had a call from Dohnanyi, who was in his fourth season as principal conductor of the Philharmonia Orchestra. ‘We’ve never met,’ he said, ‘but I’ve read your book and we need to talk.’
He had much to say about Herbert von Karajan, how he controlled music in German-speaking countries and played the record industry like his toy train set. His anti-Karajanism was twofold – a personal hatred of HvK’s past Nazism and a principled assessment that his was abuse of power on an industrial scale. He accused Karajan of destroying opportunities for young German conductors, particularly those who opposed his imperium.
But the most telling observation was this: ‘I know this (music) business is corrupt, but I always assumed it would outlast my time. After reading your book, I’m not so sure. We need to talk some more’.
We did.
He was immensely likeable man, fastidious and reserved.
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