Loss of Kogan hurts quality of Utah Symphony

Though many symphony patrons have probably not yet noticed, Utah recently suffered a major cultural loss — Pavel Kogan, who has served as principal guest conductor for the Utah Symphony for the past six years, has effectively been let go. (Officially, his contract wasn't renewed.)

Those who were lucky (or wise) enough to see Kogan, know that he brought a tremendous amount of skill and artistry — not to mention passion and depth — to the concerts he conducted. Utah has been a better place because of him, and the Utah Symphony has been a better musical entity.

The Deseret Morning News quoted Anne Ewers, Utah Symphony & Opera CEO, as saying that the symphony's official position is that Kogan's contract wasn't renewed because "the executive committee felt that (six years) was long enough," and that although Kogan has a "lovely following . . . the numbers have dropped as the novelty has worn off."

First of all, principal guest conductors don't necessarily have such a limited tenure. Sir Colin Davis was with the Boston Symphony Orchestra for 12 years. Pierre Boulez has been with the Chicago Symphony Orchestra for nine years and is continuing. If the expiration date for a classical artist is six years, then Mozart and Beethoven must be way past their shelf life.

Second . . . "novelty"? Surely she jests.

According to everybody I've spoken with in the music community, Kogan was far more than a novelty. One friend — a well-known and well-respected musician — said that in recent years he has chosen which Utah Symphony concerts to attend based on which ones Kogan would be conducting.

For the sake of argument, even if Kogan was a "novelty," that would also be true for any regular conductor, even Keith Lockhart or Scott O'Neil. Now that it's March, ask any schoolchild if they still feel the same excitement for their "new" teacher that they did in September. Of course not. By now, the novelty has worn off for everybody. But the great teachers — like the great conductors — find novelty replaced with respect and love.

I don't have an inside view as to what's really going on, but my instincts tell me that something is amiss — especially when Kogan's stance is one of such bitterness and disappointment. I don't know what went on behind the Utah Symphony's closed doors; I do know that the music world can be a frighteningly political place.

I also know that the Utah Symphony is now a poorer organization for this decision.