HONORING THE LEGACY OF A GIANT Former Philharmonia Orchestra CEO David Whelton on the Occasion of the 2026 Evgeny Svetlanov International Conducting Competition in Birmingham
WFIMC: To begin, from your perspective, what makes the Svetlanov Competition special? David Whelton: I believe any of my former colleagues at the Philharmonia Orchestra would agree that this competition is fundamentally about bringing Evgeny Svetlanov’s remarkable legacy to a new generation. While there are many pathways for a conductor, understanding the legacy of those who came before is paramount. Today, Svetlanov’s extraordinary impact is preserved primarily through his recordings. The competition offers young conductors two vital opportunities: first, to meet people who worked with him, offering insights into both the great musician and the man; second, to see if they can absorb more than just technique—the profound depth of his score comprehension and his singular focus on bringing the composer’s (and never his own) ideas to life. It was always about the music. It is this spirit of Svetlanov that I hope young conductors experience and carry forward. In past editions in Paris and Monte Carlo, it was fascinating to see competitors from diverse backgrounds begin to understand this extraordinary individual and his Russian heritage, which was matched by a truly international musicianship— whether in Mahler or, for British musicians, in Elgar. This highlights the universality of Svetlanov’s musical spirit.
How is that legacy taught and conveyed during the competition?
That is the key question. Competitors arrive already technically equipped. The learning comes from interaction—with the audience, the professionals around them, and especially those who knew Svetlanov well. Through feedback, they learn about and reflect on his ethos. It cannot really be directly taught or explained; it is about being among people who understood his achievements. As a competitor, I would ask: why does this competition exist? What makes it endure? Competitions honoring a specific musician, like this one, differ from those simply carrying the name of a city. Competitors should seek to understand the individual behind the name! I think it is simply a great opportunity to be with those who comprehend Svetlanov’s work. That ensures every competitor takes something valuable away, regardless of winning. Having served on many juries, I find it inspiring to see how finalists, having overcome early challenges, are then ready to dig deeper into Svetlanov’s legacy. Could you name some artists who embody this legacy? Certainly. Andris Poga, an early winner, learned a great deal about Svetlanov, which was clear when I was seeking new talent for the Philharmonia. Robert Trevino, from a very different background, also reflects Svetlanov in his musicianship. Then there is Domingo Hindoyan, to whom I gave his UK
Conducting Competitions
31
Made with FlippingBook - professional solution for displaying marketing and sales documents online