The announcement on the CBSO site is rather more discreet. In August 2012, the CBSO announced the extension of his contract formally through the 2014-2015 season, and then for subsequent seasons on the basis of an annual rolling renewal. So the "rolling renewal" is terminated barely a year after it was announced.
Nelsons says: " I have enjoyed five great seasons with (Birmingham) and, while I look forward to another two in my current role, this difficult decision comes in view of my new position with the Boston Symphony Orchestra alongside my wish to protect precious time with my young family."
For Boston, Nelsons is a coup: no wonder they're over the moon. While other US orchestras are running into problems and losing conductors, Boston has managed to lure the hottest conductor on the circuit, a man seriously tipped for Berlin when Simon Rattle steps down in 2017. But what's in it for Nelsons? European and American orchestral cultures are different in so many ways that it's not simply a matter of switching podiums. Many US conductors would give their best batons for opportunities across the Atlantic. American orchestras tend to think in terms of long tenure and orchestral development. If the BSO had to coast while James Levine divided his time between them and the Met, and his illness, how will they cope with a conductor whose real future lies in the international scene? A conductor like Nelsons isn't going to stay in one place and give up Bayreuth or Berlin, or Salzburg, or Vienna, or wherever. Besides, Nelsons is shaping up as one of the greatest opera conductors on the circuit. Indeed, he was conducting opera from a very early stage in his carer. Whatever Boston might have to offer, it's not quite in the European league. Besides, Boston's a lot futther from Latvia. So what's Nelsons planning long term? What's in his best interests, and in the best interests of music in general?