Dear Sir,
I know that the Jalisco Philharmonic Orchestra has not yet made a decision on their next music director. I am still very interested in the position and I am confident that a majority of the orchestra would be happy with this decision. We have worked together on every type of program imaginable, from ballet and opera to Stravinsky and Berlioz, from Marquez to music for the Juegos Panamericanos. That is a wide range of styles and genres to have at one’s command, especially with facility and conviction.
My philosophy has always been to be forthright with every orchestra. We all have warts as well as beauty marks. I present all, so that there is no misunderstanding later. Like a family, an orchestra must try to minimize its differences and highlight its strengths — in other words, diminish its warts and accent its beauty marks. This means that when challenges occur, we work through them, move forward, and grow from our experiences. As collaborators, the orchestra and I have already accented our beauty marks, and even begun to diminish warts. The difficult part is already behind us! What a great advantage to our relationship!
The administration of the OFJ is also a pleasure to work with. Through our weeks together we developed good communication. We talked of hopes and plans for more artistic development of the orchestra and improved rehearsal schedules. I proposed a plan for developing young Jalisco talent to eventually join the orchestra. This plan develops future musical growth from inside the region. This is one of the big challenges for any community. It is fully possible to implement this plan with the correct structure and collaboration with the community and municipal government.
I have had the pleasure of meeting, formally and informally, the Mayor of Guadalajara and the Secretary of Culture. I have gotten a clear feeling of support for my candidacy from the local government. And I have met members of the orchestra’s Patronato, so I am confident that we can work together to produce the best musical results that Guadalajara has ever seen.
Maestro Macias and Maestra de la Parra [other candidates] are both fine musicians. If I were Music Director, these two colleagues would certainly be included in my list of guest conductors. Guest conductors and soloists are important to a major orchestra’s quality. I plan to develop a list of others as well over time.
Some may think that the Spanish language might pose a problem for me. Well, beginning with no ability, I have come a long way just on my own. And don’t forget, there are many Tapatíos whose first language is not English, and they speak English just fine! With some classes and lessons, I should also be able to do the reverse. It will be fun to see how quickly I can learn all the Spanish phrases and astound Tapatíos!
Music directors are needed not only for continuity of musical thought and ideas, but for artistic growth in an orchestra. With maturity, experience and understanding, a great music director can help develop the latent talents of musicians and create the most amazing and unexpected musical excitement a region has ever known. I certainly desire to have that chance.
Leslie B. Dunner
P.S. The media have forgotten to mention much of my background: my studies with Leonard Bernstein, Seiji Ozawa and Maurice Abravanel at the Tanglewood Music Festival; 11 years as a conductor with the Detroit Symphony Orchestra (one of America’s “Big 10”); eight years as an Assistant Conductor with Kurt Masur and the New York Philharmonic, including serving as Assistant Conductor for the New York Philharmonic’s 1994 European tour; a Japan tour with the Detroit Symphony where I conducted five concert programs; and two concerts as Assistant Conductor to Erich Leinsdorf with the Chicago Symphony Orchestra, with whom I also conducted some Educational Programs. I also guest conducted almost all the major U.S. orchestras during the last 24 years.
