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SCOTT SIMON, HOST:

This past week has been filled with some truly tragic stories of loss and devastation in the wake of Hurricane Sandy. There are also a few stories of near-misses and disasters averted. Our friend Marin Alsop, music director of the Baltimore Symphony Orchestra, fortunately has one of the latter. She joins us by phone from Los Angeles, where she's leading the L.A. Philharmonic in performances this weekend. Marin, thanks for being with us. And tell us what happened to your studio.

MARIN ALSOP: Well, I came out to L.A. early because I realized that I would probably get trapped with the storm. But I came out on Sunday, and an enormous tree came down and hit our studios. And luckily no one was there. It hit the studio on the corner. And luckily, there were some friends over and they went in and grabbed all of my scores, hundreds of scores, because there was water gushing in and dragged them in the house. So, it could have been much worse. I mean, you know, I feel for people who had much worse happen to them.

SIMON: Marin, when the score of a top-flight - which you are, certainly - symphony conductor are damaged, what's damaged? Because I think some people listening might think, oh, you can go into a music store or go online and get another copy.

ALSOP: What's happens is that as I'm studying, as any conductor studying, we mark the score, meaning that we're analyzing the structure, the phrases. So, every page of the score could have, I'd say, up to 50 markings that are personal to that particular conductor. And I mark the scores in different colors too, so there's some red and blue. For me, I only use two colors. I know some conductors that, you know, their scores look like a rainbow. It's almost like a shorthand for the actual conducting, so that I know who I want to feature, who I want to bring in. Of course, many of the scores I actually conduct from memory, but one needs that information during rehearsals. I mean, this is really a huge investment in terms of time.

SIMON: What scores were damaged?

ALSOP: The pieces that I'm doing in the next couple of weeks I had with me, fortunately. But pieces for next month and right after the first of the year were all out on my desk. So, coming up I have Shostakovich 7, Prokofiev 4th Symphony. But I think even that is salvageable.

SIMON: It occurs to me, Marin, that perhaps even years from now when you're conducting a Shostakovich 7th or Prokofiev or Berio Sinfonia, you could look down at one of the scores that recently had a close call and it tells a story. It survived Hurricane Sandy.

ALSOP: Oh, definitely. I mean, I shouldn't admit this - but there are several scores I look down and I remember that cup of coffee immediately, because, you know, there are the remnants on my score. I think for me every time I conduct Shostakovich 7th Symphony now, I'll see the watermarks on the score. And I think that brings a sense of poignancy to the experience that we are all so vulnerable to nature. And my heart goes out to so many people that have lost so much more and have experienced so much more devastation. Maybe that, in a way, is a wonderful thing to be reminded of when I'm in the throes of conducting a great work that brings us all together and connects humanity.

(SOUNDBITE OF MUSIC)

SIMON: Marin Alsop, music director of the Baltimore Symphony Orchestra, speaking to us from Los Angeles, where she's leading the L.A. Philharmonic this weekend. Maestra, always good to talk to you.

ALSOP: Same here, Scott. Thank you.

SIMON: And this is WEEKEND EDITION from NPR News. I'm Scott Simon.

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