Before the Gilliland, [Eddins] made some droll comments about the different versions of Gershwin's Rhapsody in Blue, calling the full orchestra rendition a "wallowing cow" by comparison with the trimmer Paul Whiteman jazz band version, which he prefers to perform. He also slipped in a quip about Barack Obama that got him a rousing hand.
I can't say I cared for a joke he made at the expense of the Second Viennese School and the austerities of that style, which he implied was completely responsible for the suppression, after World War II, of composers who wrote melodies. It's dismaying to hear important musicians play the style wars game at this late date, when no style is unacceptable in the academy or the concert hall.
Besides, a conductor as persuasive and communicative as Eddins, who has such a great natural feel for the local ebb and flow of rubato, as well as for the larger structures, is in the best possible position to make an eloquent musical case for the many masterpieces of the Second Viennese School.