Articles: Page 21

In her third installment in the artistic leadership series, Tina presents the conclusions she reached during her study of 18 orchestras. She describes the leadership issues she encountered during the study from Music Directors, staff, trustees, and musicians, and suggests that orchestras should take a fresh look at their CBAs (collective bargaining agreements). Finally, she presents her findings from the European orchestras she studied and poses some challenges for American orchestras.

In her second installment in the artistic leadership series, Tina poses several sets of intriguing “What If” questions that should spark some interesting conversations in your orchestra. In particular, she explores the issues of an orchestra’s identity in terms of vision, artistic quality, and programming. She raises some fairly radical ideas regarding personnel policies for the music director, musicians, and trustees. Finally, she presents three sets of professional development lists for musicians, staff, and trustees.

During a hiatus from performing with the St. Louis Symphony, Tina Ward spent a year studying artistic leadership issues in 18 orchestras, with the support of the Mellon Foundation. Her three-part series explores a wide variety of topics impacting artistic decision-making.
The first installment examines the concept of an orchestra’s unique identity and its vision or mission statement. She explores the nature of artistic quality among her subject orchestras, and identifies limitations that are related to lack of finances and those that aren’t particularly impacted by money. Finally, she discusses the role of the different constituencies (music director, musicians, and trustees) in making programming and personnel decisions.

How can you create a novel concert experience that truly engages the audience in unique ways without “dumbing down” the material or resorting to techno-parlor tricks? Paul Haas, music director of the New York Youth Symphony, has accomplished this with his REWIND concert, a most unusual concert indeed.
In an interview with Yvonne Caruthers, cellist with the National Symphony, Paul explains how he took a very fresh perspective on the relationships amongst differing repertoire, added unusual spatial positioning and lighting, and presented the concert in a great venue. Read on for a fascinating look at a very successful non-traditional concert concept.

Most musicians develop a knot in the pit of their stomachs when contemplating bringing their instrument onto an airline. We all know that violins and violas fit in the overhead compartments; that reed knives are not weapons; that the AFM and the TSA have reached a policy agreement about allowing instruments on board; that there shouldn’t be any problems! Yet all of us continue to hear horror stories about airline personnel at the gate insisting that the instrument be checked as baggage.
Eric Beers, a member of the AFM’s SSD staff, has extensively researched the dilemma musicians must confront when traveling by air with their instruments. He offers some very practical guidelines for you to consider before you purchase your ticket.

August 29 is the 1-year anniversary of hurricane Katrina, which caused so much death and destruction, as well as pain and heartache, for New Orleans and other southern cities. America and the world watched with horror as one of our most beloved cities was flooded and most of its residents fled for their lives. The number of residents who didn’t make it to safety still shocks us all.
In a gripping account, Ann Cohen, cellist with the Louisiana Philharmonic, describes what it was like for the musicians in New Orleans’ orchestra to cope with the aftermath of the hurricane in their struggles to deal with a sudden relocation, stay in contact with each other, find a means of making a living while the LPO was not performing, and ultimately, to bring their orchestra back in full force to the New Orleans community. The outpouring of assistance from musicians all around America is a tribute to our own sense of community, fostered by our deep union ties.
It’s a story of courage, conviction, and triumph.

Orchestras use many different titles for their senior staff – Executive Director, President, CEO, General Manager, Orchestra Manager, Operations Manager – but the delineation of duties is roughly the same in most orchestras. Carla Johnson, President and Executive Director of the Virginia Symphony, presents a very clear and concise explanation of the difference between a General Manager and an Executive Director.

Back in 1987, when a Denver Symphony (now defunct) staff member rudely informed a school principal whose students had raised money for the orchestra that the kids couldn’t attend a rehearsal, Eric Bertoluzzi, cellist with the then Denver/now Colorado Symphony, saw an opportunity. He established Up Front and Musical, an organization that enables Colorado Symphony musicians to present in-school performances to Denver-area students.
Yvonne Caruthers, NSO cellist, interviewed Eric to find out all the details of his remarkably successful program, which presents more than 120 concerts a year to over 20,000 students. UCAM rotates 40-50 members of the Colorado Symphony through their programs, and Eric describes how his colleagues “blossom” as they learn to speak to the kids. They even made a CD in 1997, which they use to promote the groups. Eric discusses the funding he’s found for the group, the type of music they play, and offers his advice to other symphony musicians eager to put together first-class concerts for school children.

Now that you’ve written the script, and selected and rehearsed all the musical selections, what do you need to know about actually performing your presentation in front of the students? In the third installment in his series, Gary Race takes you through the final process, step by step.
Three sessions will get your presentation polished. The first involves practicing the script itself, and getting all the details in place (where did I put that garden hose??). The second involves blocking the show – getting the stage directions figured out. Gary recommends making a diagram and even using a rubber ball (in rehearsal) to identify who has focus during different parts of the show. Now you’re ready for the dress rehearsal, preferably with a test audience of real children!
Finally, Gary discusses all aspects of the performance itself: how to set up your space, how to introduce yourselves, what to wear, and how to handle Q & A sessions. And of course, it’s important to constantly assess your own performance from all angles.
If you follow all of Gary’s suggestions in this series, you should be able to develop and present a first-class instrumental educational experience, while thoroughly enjoying yourself in the process. Educational ensemble performances should be fun for both you and the students!

Another mistake in your part? Must be a Kalmus edition, right? We all know that they intentionally put errors in the part so that they can retain the copyright. Right? Wrong!!
Karen Schnackenberg has asked Clinton Nieweg, retired Principal Librarian of the Philadelphia Orchestra, and his colleague Jennifer Johnson, now Asst. Principal Librarian of the Minnesota Orchestra, to explain why certain editions contain errors and why we\’re not justified in blaming Kalmus. Turns out we should blame the people who made the original plates! Read on for a very concise presentation of the many steps involved in creating a truly error-free set of orchestral parts.