The classical music editor of The New York Times, James Oestreich, has backed out of this
afternoon’s WNYC Public Radio Soundcheck broadcast, “The Naked Nexus of Music and
Politics,” about the Vienna Philharmonic’s discrimination against women and minorities. He was
scheduled to discuss the issue with composer Bill Osborne and musician Abbie Conant (below),
outspoken, longtime, feminist critics of the VPo.
Oestreich, who is an apologist for the orchestra in my view, suddenly
cancelled his appearance, claiming he had another appointment. Meantime, a VPo spokesman has
told the program’s producer that he would only appear in a separate segment when Conant and
Osborne were not present. Such high-handed treatment apparently comes as no surprise to
Osborne. “We face this kind of ostracism all the time in Germany,” he says. “Our advocacy for
women in music is the cause.”
It’s unclear who will represent the orchestra to defend its exclusionary practices. Although its
hiring policy was officially revised under political pressure stirred up by Osborne and others
several years ago, it has paid little more than lip service to the revision ever since. Nor is it clear
whether Soundcheck has agreed to go along with the VPo’s stipulation of separate appearances
on the program. Soundcheck’s Web site merely says, “We’ll also speak with a current member of
the orchestra.”
I’ve messaged the producer and am waiting to hear back. Soundcheck, hosted by John Schaeffer, airs at FM 93.9 on weekdays
from 2 to 3 p.m. in the New York region. Today’s program will also be streamed live here during the broadcast. (For some
background about the issues and Osborne’s Internet activism, go here: “Taking on the Vienna Philharmonic.”) Another segment is
to feature a discussion about music and politics at the China Philharmonic.
Sidenote: The concluding chapter of Malcolm (“The Tipping Point”) Gladwell’s
current No. 1 best seller, “Blink,” is devoted to Abbie Conant’s amazing history at the
Munich Philharmonic. Using it to clinch the book’s central point about intuitive vs. rigid or
conventional thinking, Gladwell tells how she won a blind audition for principal (solo) trombone,
the audition committee’s shock on learning a woman was the winner, the orchestra’s subsequent
efforts to get rid of her, and an extraordinary legal battle lasting years, which she also won after
being demoted in rank. (“You know the problem,” the Munich Phil’s music director told her. “We
need a man for the solo trombone.”)
