Fleischmann to Leave Philharmonic Post

Ernest Fleischmann, managing director of the Los Angeles Philharmonic for 27 years and a prominent civic arts activist, announced Friday to a stunned musical community that he will retire from his full-time post June 30, 1997.

Fleischmann, 71, is responsible for the financial and administrative functions of the orchestra. During his tenure, he has built the Philharmonic from a strong local orchestra into a world-class symphony with an annual budget of more than $40 million. He also built the Hollywood Bowl into a popular moneymaker.

“On the one hand, it’s high time; on the other hand, it’s hard to sever yourself from something that’s been a part of your life for such a long time,” said Fleischmann in an interview Friday.

“It’s my decision, and the [Philharmonic] board finally accepted it. You can’t be oblivious to the fact that, at least in years, you are getting older. But I have so much energy--I never get jet lag, I don’t get sick. I’ve led a very charmed life.”

Fleischmann’s departure may further complicate the troubled status of Disney Concert Hall, the orchestra’s planned new home, which has been delayed by spiraling cost estimates and a $150-million fund-raising gap.

Fleischmann will remain full time with the Philharmonic for one year after his contract ends this year, and then continue as a part-time consultant until June 30, 1999. He said he will stay on as managing director beyond 1997 if a suitable successor has not yet been found. He will also continue to be actively involved in Disney Hall affairs until the Frank Gehry-designed facility is able to open its doors.

Fleischmann and Philharmonic board of directors President Robert S. Attiyeh said Fleischmann is announcing his resignation a year and a half in advance to allow ample time to find a successor for the post, which pays approximately $300,000 a year and entails overseeing the Philharmonic, the Hollywood Bowl, touring, recording and various educational programs. It is a seven-day-a-week job for a candidate who, like Fleischmann, sleeps four hours a night. “When you have a person that strong,” Attiyeh said, “you want to replace him in a premeditated way, a very thoughtful way.”

Fleischmann, who since last summer has served as artistic advisor to the London Philharmonic, said that after his retirement he plans to remain active in that capacity for the London orchestra, the Los Angeles Philharmonic and maybe others. In addition, he said he has been asked by a British publisher to write an autobiography focusing on his relationships with many of the world’s noted conductors.

Fleischmann announced his planned departure to Philharmonic musicians onstage Friday during a noon rehearsal break, saying jokingly: “I’m going to tell you what should have happened long ago--I’m going to stop working full time . . . but you are not going to get rid of me altogether.” The orchestra applauded warmly, and played “Rule, Britannia” as the British-accented arts executive left the stage.

While Fleischmann is past traditional retirement age, orchestra colleagues and civic leaders expressed surprise that the indefatigable force behind the orchestra--who belied his own age by appointing youthful Finnish conductor Esa-Pekka Salonen as music director in 1989, bringing in provocative thirtysomething Peter Sellars as Philharmonic consultant in 1990 and working to reflect the diversity of Los Angeles--is actually leaving his post.

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Salonen, 37, whose contract with the symphony runs until 2001, will, along with a committee including Fleischmann, Philharmonic board members and musicians, play an active role in selecting a successor.

“This is not a farewell,” Salonen said. “It’s sad--but at the same time, it could be worse. . . . He’ll be the busiest retiree I’ve ever known.” Salonen said Fleischmann’s insights and knowledge of music and repertoire surpass those of any other orchestra manager he has known. “Plus, his years--he’s been around. He is an enormous databank of information.”

Associate principal cellist Daniel Rothmuller, a member of the Philharmonic since 1971, praised Fleischmann both for his managerial skills and his rapport with orchestra members. Fleischmann, said Rothmuller, “has earned the respect of his profession. He has a multifaceted education and knows several languages. He talks to people in their own language.”

The cellist also credits Fleischmann with discovering a number of young conductors, among them Salonen and Simon Rattle. “He has a sense of timing about conductors and their careers. Yet he respects the conductors of the old school. He was responsible for bringing Carlo Maria Giulini here.”

One of his few job disappointments, Fleischmann said, was the failure of his relationship with Andre Previn, who became music director in 1985 but left after four beleaguered years here. “I had such high hopes for him when he came here, he is such a wonderful musician.”

Disney Hall architect Gehry said of Fleischmann’s retirement: “It’s a big loss and I don’t think there is a replacement--I just think it will be different.

“When I was doing the research on Disney Hall, I visited many musicians in Europe with him; you could see the level of respect and love for him. It’s going to be very difficult to replace that.”

Both County Supervisor Zev Yaroslavsky and City Councilman Joel Wachs used the word “activist” to describe Fleischmann’s role in the city’s cultural community. Former County Supervisor Ed Edelman, a longtime arts supporter, praised Fleischmann for the Philharmonic’s community outreach programs, its efforts to build younger audiences and Fleischmann’s commitment to presenting works by new composers. “They sometimes play pieces that maybe some people might not enjoy much, but it provides exposure to new work,” Edelman said.

German-born Fleischmann assumed South African nationality as a boy in 1934. Earning an accounting degree from the University of Witwatersrand in Johannesburg and a music degree from the University of Cape Town, Fleischmann began work as a music critic at 17 and made his conducting debut in Cape Town. After holding other administrative arts posts, he took British nationality in 1959 and until 1967 was general manager of the London Symphony Orchestra. He was hired for his Los Angeles post by then-music director Zubin Mehta in 1969.

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Said Peter Pastreich, executive director of the San Francisco Symphony, “I don’t believe [Fleischmann is retiring]. Ernest has too much energy to do this. The demand for his services will be too great, and he will reconsider. I don’t believe this will happen.

“If it happens, it will be a great loss, not only to the orchestra, but to all of us [in the symphonic business], because he has done a fantastic job.”

Calling Fleischmann “one of the giants in the field,” Henry Fogel, executive director of the Chicago Symphony Orchestra, said he had reconfirmed the news with Fleischmann himself before talking to The Times.

Commented Fogel, “I don’t know where Ernest gets the energy--I certainly don’t expect to have all that energy when I am that age.” Among Fleischmann’s many positive attributes, Fogel said, is that “he is musically knowledgeable and cares passionately about the art of music.”

Said Deborah Borda, managing director of the New York Philharmonic, “I can hardly imagine the [Los Angeles Philharmonic] orchestra without him. But he won’t be lost to the music world, because we all depend too much on him for advice and counsel, and for being a mentor and a wonderful colleague.”

Times staff writer Daniel Cariaga contributed to this report.

* ‘A MAJOR CULTURAL FORCE’

Tempestuous tenure, many accomplishments recalled. F1