Kenny and Lenny

That title was actually penned by a student composer guy around here at Webster.

Anyway, it's been a very interesting last few days here.

The blog leaves off where I'd gone to all this trouble to make this new tape for Leonard Slatkin.

For anyone who may not know, Leonard Slatkin is one of the biggest classical music figures in the world. He conducts the National Symphony and the BBC Symphony, and, before that, he conducted the St. Louis Symphony for 18 years and brought them to international fame and etc and etc.

I got home Tuesday night and I saw that I had a message from Taki, my friend in the symphony.

He said that he'd spoken with Leonard. Before Taki said anything about what was said in the conversation, he said something like:

"I don't think he's in the position to volunteer any help for you, you know, someone of that kind of world fame..."

So, I took that as not a very good sign.

Then, he says that he asked Leonard about my tape and what he thought of it, and...

"He was very impressed."

SO...not only had he SEEN the tape we sent him, he apparently enjoyed it. So, very good news!

Then, Taki went on to say that I should come to the free outdoor symphony concert on Thursday night and speak with Slatkin then.

So, at this point, my dad steps in, invites himself along, and starts saying what he thinks we should talk about. He thinks he fully understands where I am and stuff like that, and that I should try to get Slatkin to get me into a school for free.

"He could get you into Juilliard for free! We need to try to get him to help you get school paid for. Musically, I know there's a lot you can do now, but if you went to a school like that..."

He doesn't understand that:

1. I'm probably at my prime as an artist right now.
2. Juilliard is NOT where I want to be. At all. Nor is it where I should be.

But, that's ok. It's ok that he doesn't understand, exactly, what's happening and everything like that. It's also ok, of course, for him to come along.

I did tell him, though, to let me do most of the talking.

So, we met up and then we walked down to the stage and met up with Maestro Slatkin (as you're supposed to call conductors).

He were introduced and we shook hands.

"You're very talented. I enjoy your music."

I thank him.

"So, what are you working on now?"

Just new pieces, I say.

"What do you find is the most difficult part of composition?"

So, I talk about that a little, etc. Then, I start asking him questions about what he thinks I should do, who I might want to contact, etc.

The first thing he told me was:

"Keep sending me your stuff."

So, that's good. He seemed serious about it, too, maybe because he figures it might even serve his interests at some point, or because he knows he might cross paths with someone else who can help me, or both.

Then, he mentioned someone who he's friends with here in St. Louis who runs a national music publishing company that's based here. He said he's in routine contact with her and that she might be a good contact for me regardless.

I also asked him about management and if I should look into that, especially since I'm in a small market.

At first, he said that for composers, it's not such an important thing, but I can certainly get a hold of a few different agents and things, that there's a lot of different agents for different people.

He said that it certainly wouldn't be a bad idea to visit the larger markets, but that I seem to be doing well right here in St. Louis.

Then, he said that I probably would need someone out there hitting the pavement for me, though.

Taki asked if he had any musical advice or criticism or whatever, and he said no.

That's fairly important, too, because Slatkin is REALLY serious about education and growth and etc., and he could've approached me like a student-type if he felt it was appropriate, and not like someone who's ready.

And, that was basically the meeting!

It kind of hit me a little more about the significance this may have when Slatkin said from the podium:

"I got a call this afternoon from my dear friend, John Williams, who, of course, composed the score for Star Wars, which we're about to play. I am very pleased to hear that he is one of this year's 5 Kennedy Center honorees."

The Kennedy Center is also where Slatkin works. That's where the National Symphony does everything.

So, just to clarify: Fame isn't any kind of a goal for me. I feel that if you're an artist and are making things that resonate with people, it becomes a large part of your job to do everything you can to get it out there. That's why I'm interested in people who know people and etc..

Whew. Pretty interesting last few days.