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Dicterow approached Masur during a break and asked if the maestro might mark an extra beat, so the orchestra could figure out when to come in.
It was strikingly similar to Sotheby's failed picture in spirit, although later by three decades — if the maestro had a weakness in old age, it was a tendency to repeat himself, witticisms included.
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It would also have been nice if you could run the Maestro off batteries instead of just AC power.
And what will happen if Greenspan's successor lacks the Maestro's touch?
Conductors serve to generate the illusion of novelty: as Theodor W. Adorno wrote, in his "Introduction to the Sociology of Music," the maestro "acts as if he were creating the work here and now".
When Keith Richards organized his homage to the man whose guitar style he had been channeling since his teens - Chuck Berry: Hail, Hail, Rock'n'Roll - in 1987, part of the motivation was to see how the maestro would perform if accompanied by a band that actually knew his songs.
The Mamba wasn't wholly incompatible with the Maestro — Irving is nothing if not a brilliant soloist — but the two pronouncements struck a slightly discordant note.
Needless to say, the converse is also true: if critics hate a performance it's usually the maestro who takes the flak.
You could call it The GoodMusicians. (If this happens I call dibs on carrying the Maestro's fiddle and bow onstage).
A killer tableau – yet the maestro couldn't look more bored if he tried.
"If you add to that the personal reputation of the Maestro" — Greenspan — "it was very difficult for anybody else to come in and say there are problems building".
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com