The Man, Myth in the Eyes of Others

LEGACY

If you look at the cultural history of Los Angeles, Ernest Fleischmann must be considered one of the dominant players. He’s made a significant mark on the city’s coming of age.

--Robert Fitzpatrick, dean of Columbia University’s School of the Arts, former president of CalArts (1975-87), director of the 1984 Olympic Arts Festival and creator-director of the 1987 L.A. Festival

The L.A. Philharmonic became a first-class orchestra because it had a first-class manager. The minute he took over, we knew something serious had happened.

--Peter Pastreich, executive director, San Francisco Symphony

L.A is not a desert--composers like Stravinsky and Schoenberg made it their home. But the importance of music in the community has increased--largely because of Ernest Fleischmann. Ernest put the L.A. Philharmonic on the map.

--Conductor and composer Pierre Boulez, frequent guest conductor at the Los Angeles Philharmonic

THE OTHER SIDE

Ernest Fleischmann yelled more than any boss I’ve ever known.

--Derrick Henry, classical music critic, Atlanta Journal and Constitution, 1985-1997; assistant director of promotion, Los Angeles Philharmonic, early ‘70s

When I accepted the post of music director, a great number of people warned me I was going to hell. Still, I never felt threatened. We have arguments, difference of opinions, of course, but I don’t think we ever had a moment where the issue was power--who has the last word. People confuse Ernest’s passion with egomania, but he’s more interested in music than himself.

--Esa-Pekka Salonen, Los Angeles Philharmonic music director

Is he an easy man to work with? No. He’s been described as arrogant with a high degree of accuracy and shows no signs of mellowing. . . . During the Olympic Arts Festival and L.A. Festival, Ernest’s attitude was “Just give me the cash and let me do what I want.” I don’t know anyone who has worked with him who hasn’t engaged in monumental battles.

--Robert Fitzpatrick

If you don’t pay attention to Ernest, he makes life miserable for you. Ernest can’t imagine not being an important factor any place he goes.

--Peter Pastreich

His honesty sometimes gets him into trouble. Still, I never heard him have arguments with great artists. His high standards only caused frustration in the mediocre ones.

--Conductor Zubin Mehta, music director, Los Angeles Philharmonic, 1962-78

WHAT SETS HIM APART

Most managing directors know as much about music as art dealers know about art. They go with what’s mode-ish and sells. Ernest doesn’t treat music like a chunk of ham.

--Flutist James Galway

One of the great dangers facing orchestras in this country is that they are being managed in the corporate American way. That doesn’t work when the product is 105 talented individuals, so labor problems result. L.A. hasn’t had these problems for ages because of Ernest. Though a certain degree of cold calculation is necessary in his job, the players know he’s working toward the same goal--not out to screw them in contract negotiations.

--Esa-Pekka Salonen

There is no university course called Orchestra Managing 101. Yet the job is a very specialized one. You have to organize a good season but save as much money as possible. Ernest is a unusual: strong on the business and artistic end.

--Zubin Mehta

Ernest is a rare combination of musician and manager-impresario--a visionary with old-fashioned panache and style. What’s even more impressive--almost shocking, in fact--is that after his long career, he’s still pristine. He retains his youthful idealism.

--Deborah Borda, executive director, New York Philharmonic

When Ernest is in L.A., he attends practically every concert. His secret is: He cares.

--Pierre Boulez

Ernest has the courage of his convictions: He cares deeply but doesn’t give a damn. Thin-skinned and prickly as the biggest prima donna, he’s also got the hide of an elephant.

--Robert Fitzpatrick

Fleischmann is one of the last of a dying breed. He comes from the school of managers who really know music. Most of his counterparts today are number-crunchers with little artistic vision. Their ultimate goal is keeping their orchestras afloat; his goal is improving the quality of the work.

--Derrick Henry

THE EAR AND THE EYE

Ernest is like an eagle, flying but looking down at the smallest mice. When it comes to spotting ability, he has an eye and an ear--and a flair. He’s also an innovator, a calculated risk-taker. That’s important in terms of reaching people. No one wants to play to empty seats.

--Pierre Boulez

If he says he’s seen a terrific violinist, people write it down.

--Peter Pastreich

A conductor has limited experience at 20 or 21. It’s one profession you have to practice publicly. Ernest, nevertheless, has been able to predict potential early on and very rarely fails. That comes not only from a tremendous amount of technical knowledge but from intuition, gut feeling.

--Esa-Pekka Salonen

Ernest is a patrician populist, a man who has reached out to make the Music Center more welcoming. A couple of years ago, I attended a concert, and it was a very different audience--not just white, Westside. He’s a very savvy marketer.

--Robert Fitzpatrick

WORK ETHIC

It was rare that I beat him in in the morning or left later than he at night. Fleischmann is also a micro-manager. He had input on the even the most innocuous press release--even if it only meant changing a word.

--Derrick Henry

Like Winston Churchill, he doesn’t need much sleep.

--Bob Attiyeh, chief financial officer of the biotechnology company Amgen, and a board member of the Philharmonic

THE MAN

One aspect of Ernest I admire is his unerring knowledge of food and wine--it’s one of the joys of having him as a sidekick. He never fails to head for the best restaurants and chefs. On my own, good service is touch-and-go. With him it’s always perfect.

--Esa-Pekka Salonen

Ernest has a sense of humor but it generally stops at eye level. Very dry and ironic, it never reaches the lips. --Robert Fitzpatrick

People don’t realize that he writes wonderful letters--friendly or terrifying. He has enormous power of the pen.

--Bob Attiyeh

Ernest is an intellectual--interested in theater and the visual arts, not just in music. On the job, he’s focused on getting the work done--you have to return his serve when it comes over the net with speed. Off the court, he’s a pussycat.

--Gordon Davidson, artistic director of the Center Theatre Group

STEPPING DOWN

Ernest has been here forever. I was reading Donald Duck when he took over. The day when he no longer has an office in the building will be pretty damn strange for him--and us. Most of the players now in the orchestra have never experienced a non-Ernest Fleischmann period and, I’m sure, will find his retirement psychologically difficult. We’ll be counting on him to scout out talent and to remain part of the Disney Hall think-tank.

--Esa-Pekka Salonen

[Willem] Wijnbergen is probably a brilliant choice to succeed Ernest--a fellow with enough personal charisma not to get lost in his shadow. Happily ignorant of the city’s music politics, he should have an easier time ignoring Ernest than someone who has worked with him.

--Robert Fitzpatrick

It will be tough for him to let go. After all, it’s been 28 years. The orchestra is his life. Still, I’m sure his phone will be ringing off the hook with people seeking his advice. And knowing Ernest, I think he’ll give it readily.

--Zubin Mehta