SPOTLIGHT: Alan T. Gilbert '09

For fans of the Boston Symphony Orchestra, Seiji Ozawa captured the image of the frizzy, white haired, eccentric conductor. At the tender of age of 42, however, Alan T. Gilbert ’89, musical director designate of the world-renowned New York Philharmonic, belies such stereotypes. His career has skyrocketed from music director of the Harvard Bach Society Orchestra to his current position. It would be understandable for someone with such a young and illustrious career to be a bit cocky, but Gilbert is decidedly down-to-earth. At a Learning From Performers event at the New College Theatre last Friday, he was amicable, reflective, and insightful. He called his time at Harvard “amazing” and recounted his formative experiences at the university.

Born in New York City in 1967, Gilbert grew up in a musical family; his father Michael Gilbert, his mother Yoko Takebe (a player in the Philharmonic), and his sister Jennifer Gilbert are all prominent violinists. While attending Harvard College, he lived in Adams House and nurtured broad academic interests. Gilbert attempted to major in English, but was unable to complete the requirements in time for graduation. He returned to his original music concentration so late in his career that he claims he was “probably the most pathetic music concentrator ever.”

It was in his extra-curricular involvement with music that Gilbert found the freedom and flexibility he wanted. Describing the Harvard arts community as “magical” in its enthusiasm, Gilbert fondly recalled concerts that were “self-generated,” off-the-cuff performances organized entirely on the initiative of student musicians. Gilbert spoke of one particularly noteworthy performance in Adams House where, “after the first four notes, the crowd broke into cheers and [the orchestra] had to stop.” When asked whether he ever regretted giving up the more structured musical instruction of a conservatory for Harvard, he answered “never.”

The spontaneous and intense music scene at Harvard exposed him to responsibilities that he may have missed out on otherwise. In organizing concerts with his friends, Gilbert learned a do-it-yourself work ethic that would be the envy of many punk rock bands. He recalled having to coordinate everything from rehearsals to publicity campaigns for his concerts. “[B]eing aware of the whole range of elements that go into a concert was invaluable experience that I got in a very special way,” Gilbert said.

The same hands-on, initiative-taking approach that Gilbert exercised in organizing concerts proved valuable in Gilbert’s sophomore year. That year, Harvard was celebrating its 350th anniversary and Leonard Bernstein ’39, who was then conductor of the New York Philharmonic, was tapped to give the keynote address to conclude the festivities. Cognizant of the lengthy parade of speakers before him, Bernstein let the audience vote on whether they wanted to hear his speech; they voted him down. Seizing the moment, Gilbert and a few of his friends personally begged Bernstein to come give the speech at Adams House. Bernstein, who knew Gilbert’s parents as violinists in the Philharmonic, agreed on two conditions: the attendance of then President Derek Bok and two bottles of Scotch.

Reminiscing about the magic of his experiences at Harvard, Gilbert remarked, “it feels as though it could only happen here.” Before earning his position at the Philharmonic, Gilbert conducted symphonies in Cincinnati, Santa Fe, and Stockholm. One audience member asked him for his opinion of the state of arts in America today, and as part of his response, he articulated his vision for what artists in the public sphere can do for the greater community in which they reside.

“I want the New York Philharmonic to be more than an orchestra that happens to be in New York. I want the New York Philharmonic to mean something for all New Yorkers on some level,” he said. “An orchestra performing at the highest level should be a source of civic pride.”

Throughout the course of the conversation, Gilbert offered up a personal account of the opportunities that the arts community at Harvard can provide, not just for those directly and personally involved but for all students.

“Harvard is an incredibly artistic place,” Gilbert said, “[The arts are]gratifying and important and [they are] what makes life beautiful.”