That photo shows a 1970 Kingsway Hall session for the EMI recording of Vaughan Williams' The Pilgrim's Progress . From left to right are Ursula Vaughan Williams, Christopher Bishop (producer), Sir Adrian Boult , John Noble , Ian Partridge, Gloria Jennings, Christopher Parker (balance engineer), John Alldis (chorus master), Sheila Armstrong and Marie Hayward. During his career at EMI Christopher Bishop produced legendary recordings with Sir John Barbirolli, André Previn, Sir David Willcocks , David Munrow, Carlo Maria Giulini, Sir Adrian Boult and many others. Christopher was born on April 1st 1931; he is enjoying a well-earned retirement in rural Suffolk not far from Aldeburgh, and I am sure readers will join me in wishing him a very happy birthday. It is a scandal that in an age when so many minor media celebrities receive recognition with State honours that Christopher Bishop's contribution to British and indeed global culture has never been recognised with a suit
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But in all seriousness, John has a vast repertoire that he wishes to conduct. Not just the standard repertoire, but also music that deserves to be heard, and not just on recordings or in some concert hall in Europe. He has been invited by the likes of the Colorado Symphony and the Detroit Symphony, but on one-off concerts, so why hasn't he been invited by these major orchestras, and others, on a subscription series?
Now in recent months many people have asked "who is that wonderful black conductor we see on the GMC commercial?" and the answer is Kazem Abdullah, but apart from a gig with the Westchester Symphony last June, and a recent appearance by the Detroit Symphony performing, among other works, Jeffrey Mumford's cello concerto, he has, to my knowledge, not been invited to conduct major orchestras here for the '17-18 season. This also applies to Kirk Smith who, if you have read some of my posts and his, has recently made a recording of works for string orchestra by American composers (this one included :) ), but apart from an appearance with the Houston Symphony last year, I don't see American orchestras clamoring for his services.
And though his reputation is lauded by many in the business, Andre Raphel does get plum gigs, but in my opinion he should be guesting with more first-tier orchestras in this country, and that's a no if's, and's or but's statement right there! This also applies to Bill Eddins, who is one marvelous conductor in his own right (not to mention a dynamite pianist!)
Ditto Julius P. Williams, Leslie B. Dunner (and he's a MD candidate for the Erie Chamber Orchestra), Vincent L Danner (also a candidate for the Erie position), Jeri Lynne Johnson, Brandon Keith Brown, Marlon Daniel (and he's been invited to conduct Cuba's National Symphony in Havana!), Joseph Young, Roderick Cox, Joseph Jones and most likely a few others who escape my mind at this moment (Please, please, please shout yourselves out!)
Now...as Bob hinted, if DGG can sign what they say is their "first female cellist" and wish to "exploit" her, then why isn't a major label hooking up with some of these conductors to grant them the exposure they deserve? Is it because they don't want to break the glass ceiling and show the world that black conductors are capable of performing both the standard repertoire as well as new music? Are they afraid that they don't know how to "market" them?
First - we need to be seen as conductors, period. The color should not matter whatsoever, but for those who have made up their minds that black men and women should not hold grace at the podium because...well, this music is not a part of our history, we beg to differ. Second, there are many of us who are guardians of this music and defenders of its faith, and in some cases even more so than one is led to believe! Third and last...because audiences seek new faces, and we are the makers of generations to come and to aspire them to explore this vast repertoire of music.
I said enough!