Conductor Michael Morgan looks back on his international success

With a reputation for leading symphonies into divinely inspired performances Michael Morgan is the man to call when an orchestra wants to debut works by Russian composers. Morgan served as a guest conductor for the Atlanta Symphony Orchestra during a Russian themed program including pianist Yevgeny Sudbin. Needless to say he brought the house down during Shostakovich’s Symphony No. 6. Surprisingly, the virtuoso says it took years to find consistency in his talent. The renowned musician’s struggle went under the radar as he conducted his way from Washington D.C. to Vienna and back stateside. Morgan’s work eventually took him to Oakland California, where he is the Music Director of the Oakland East Bay Symphony. Morgan answered a few questions about life in Austria and how art organizations can attract the interest of today’s youth.

PW: When did you know you had enough talent to make a living performing classical music?

MM: I decided to pursue this when I was eight years old, so I had no idea it could even be hard to make a living. It was just what I was going to do. 

PW:  You grew up in Washington D.C., was it challenging being a Black classical music student? What have been some of the challenges you faced in you career?

MM: At the time Washington schools had music education everywhere. There were plenty of us playing music in the schools I went to. The main challenge throughout my career has been turning raw talent into consistency, which has only happened in the last few years.

 

PW: What attracted you to conducting as opposed to playing or composing?

MM: When you're eight years old it looks really easy. You have no idea about the work involved. Much the same way an eight year old wants to be an astronaut.  


PW: You spent a great deal of time in Vienna, the capital of classical music, what valuable lessons did you learn there? What did you like most? and do you visit?

MM: I did like learning the traditions, as well as learning which ones needed breaking. This was back in the early 80's when Vienna was a less diverse place than it  is now, so you also learned to function as a total outsider. I haven't been there now in many years, but even back then I wanted an American career.

PW: How have you seen classical music and audiences change since you began conducting?

MM: If you program to attract diverse audiences, the audiences will be diverse. For  years people have bemoaned the "greying" audience, but that greying audience continues to replace itself so there is a future for the business.

PW: Why is it important to you to work with young people at Oakland Youth Orchestra?

MM: Two reasons: you have to pass on whatever you know, that is most important. But working with young people also keeps you honest. You can't let yourself slip into doing things you tell them not to do. 

PW: As a world renowned conductor, what characteristics do you believe make a person an excellent musician?

MM: Really the most important characteristic is an ability to get outside yourself and express something - you can't hide. If you can temper that with good training you wind up a good musician. Keep at it long enough and you might make it to excellent.

 
PW: Right now, in the high arts like opera, classical music and theater there is a push to get younger people and more minorities to embrace these disciplines by either taking them up or by supporting them. In your opinion, what needs to be done to make these avenues more accessible?

MM: First is to actually go out and invite them in and giving them permission not to like everything. Presenting things as "good for you" is always a bad idea. Give them a chance to express their opinion - which they can't really do until they've seen something. Sending artists out into the community as much as possible to be seen as regular people is a great step in demystifying the arts.

 
PW: From what you have seen in other parts of the world are classical music and the high arts perceived the same way as in the U.S.

MM: Obviously some people are closer to this music when it comes from their country, but given the same level of exposure people are equally interested the world over. The exposure, particularly while young, is key.

 
PW: Do you have a favorite piece you always look forward to conducting?

MM: I don't really. I love conducting opera particularly Mozart, Verdi and the bel canto era. I've had a lot of success with the Russian rep.

 
PW: In what ways do your students challenge you? In what ways do you see them evolve?

MM: The challenge in teaching conducting is figuring out what the barriers are for each individual student. There is no one size that fits all. As they get outside themselves you start to see whether they have anything to say.

 
PW: How did classical music change your view of the world? Does your view continue to evolve through music?

MM: I don't think it has. My view of the world is political and music is beyond that. So I have to say no

*Michael Morgan passed away on August 20, 2021 in Oakland, California.