Like most professional musicians, I have just finished the Christmas "marathon". That is, weekly performances of Christmas concerts, beginning the first week of December.
This "marathon" means different things to different people. Some musicians see it as an opportunity to make lots of do-re-mi. After all, whether one views Christmas as a sacred or secular holiday, most everyone agrees that the music is good. Consequently, those people who don't normally attend orchestra concerts come out in droves. Just look at ballet companies. Tchaikovsky's Nutcracker has to account for 15-20% of their ticket sales for the year. Similarly, the Bowling Green Chamber Orchestra and the Murfreesboro Symphony Orchestra (the two orchestras for which I serve as music director) experienced record audiences for their respective concerts.
For me, Christmas is more than ticket sales. As I planned the two concerts, it occurred to me (as it does every year) that this holiday is responsible for much of the great orchestral literature we have. Not only do we have great pop arrangements like A Christmas Song (Chestnuts Roasting on an Open Fire), but we also have great classical pieces like the above-mentioned Nutcracker. More significant to me, however, are the composers who were inspired by the religious aspects of Christmas. From Adams' O Holy Night to Handel's Messiah, Christmas wouldn't be the same without these musical reminders of the real reason for the season. For me, Christmas concerts are a glorious celebration of Jesus' birth.
Have a blessed Christmas!
Wednesday, December 19, 2007
Tuesday, November 20, 2007
The Obsolete Conductor
It is highly unusual for me to post comments twice in the same month, let alone twice in the same week as I am doing today. However, I ran across this news brief from the American Symphony Orchestra League. It hits home with something I have been saying for years, so I couldn't resist sharing it with you. Here goes:
James Levine on conducting and new music
In Sunday’s (11/18) Boston Globe, Sam Allis talks with Boston Symphony Orchestra Music Director James Levine about his conducting style. “Levine’s goal is to make himself, to use his own word, obsolete.” Says Levine: “What I want to hear is an orchestra that functions like a huge chamber orchestra, to communicate the conception directly to the audience. If the conductor has to control everything gesturally, the audience looks more than listens.” (My emphasis.)
What a concept: the audience listening to the music rather than watching the conductor. Ever since the histrionics of Leonard Bernstein in the 1950s, orchestra audiences (and unfortunately many musicians) have judged a conductor's effectiveness on how good he or she looks on the podium. I blame it on Bernstein because he is the first notable example of a conductor who seemingly choreographed movements to impress the public. Before that, conductors often looked awkward on the podium. For example, look at old films of Furtwangler (who conducted like a limp, marionette puppet) or Richard Strauss (who looked like he was bored out of his skull when he conducted). These great conductors were judged on the music that they made. I thought the days of conductors being judged on their musicality instead of their podium moves were over. Perhaps James Levine offers hope.
Don't get me wrong. Bernstein was a genius. I can't think of any other person in history who was able to conduct, compose, teach, and play at the level Bernstein achieved. However, his "matinee" style of conducting put the emphasis in the wrong place, in my opinion. To prove my point, look at some of the classes offered to conductors. For example, classes in movement are offered at conducting seminars and workshops. I'm not talking about the basics of conducting technique, but classes taught by theatre people in how to look good on the podium. Proponents of these classes would deny that looking good is their goal. They would say that such movements are necessary to communicate the composer's intentions via the conductor's gestures, resulting in better music making. Before Bernstein, conductors were devoted solely to the music, regardless of how they looked to the public. I really wonder if conductors like Strauss and Furtwangler could get a podium job these days.
I don't blame conductors for worrying about how they look. As I said, audiences and musicians tend to judge them on this. If you want a job, you better play the game. However, I dream of the day when a conductor is judged not on how he looks, but on what kind of product he gets from the musicians who play beneath his baton. Maybe I was born 50 years too late and this is a pipe dream. Then again, maybe Maestro Levine offers hope.
James Levine on conducting and new music
In Sunday’s (11/18) Boston Globe, Sam Allis talks with Boston Symphony Orchestra Music Director James Levine about his conducting style. “Levine’s goal is to make himself, to use his own word, obsolete.” Says Levine: “What I want to hear is an orchestra that functions like a huge chamber orchestra, to communicate the conception directly to the audience. If the conductor has to control everything gesturally, the audience looks more than listens.” (My emphasis.)
What a concept: the audience listening to the music rather than watching the conductor. Ever since the histrionics of Leonard Bernstein in the 1950s, orchestra audiences (and unfortunately many musicians) have judged a conductor's effectiveness on how good he or she looks on the podium. I blame it on Bernstein because he is the first notable example of a conductor who seemingly choreographed movements to impress the public. Before that, conductors often looked awkward on the podium. For example, look at old films of Furtwangler (who conducted like a limp, marionette puppet) or Richard Strauss (who looked like he was bored out of his skull when he conducted). These great conductors were judged on the music that they made. I thought the days of conductors being judged on their musicality instead of their podium moves were over. Perhaps James Levine offers hope.
Don't get me wrong. Bernstein was a genius. I can't think of any other person in history who was able to conduct, compose, teach, and play at the level Bernstein achieved. However, his "matinee" style of conducting put the emphasis in the wrong place, in my opinion. To prove my point, look at some of the classes offered to conductors. For example, classes in movement are offered at conducting seminars and workshops. I'm not talking about the basics of conducting technique, but classes taught by theatre people in how to look good on the podium. Proponents of these classes would deny that looking good is their goal. They would say that such movements are necessary to communicate the composer's intentions via the conductor's gestures, resulting in better music making. Before Bernstein, conductors were devoted solely to the music, regardless of how they looked to the public. I really wonder if conductors like Strauss and Furtwangler could get a podium job these days.
I don't blame conductors for worrying about how they look. As I said, audiences and musicians tend to judge them on this. If you want a job, you better play the game. However, I dream of the day when a conductor is judged not on how he looks, but on what kind of product he gets from the musicians who play beneath his baton. Maybe I was born 50 years too late and this is a pipe dream. Then again, maybe Maestro Levine offers hope.
Giving Thanks
As we approach the Thanksgiving holiday, I thought I would take a moment to say what I am personally thankful for. God has blessed me in more ways than I deserve. I think it is appropriate to take the time to recognize that.
First and foremost, I am thankful for my family. I have a loving wife who supports everything I do without complaint and with encouragement. I have two children who are good kids. I have a mother who faithfully drove me to trumpet lessons every week and a father (now deceased) who encouraged me to follow my musical dreams.
I am thankful for my friends. They have enriched my life beyond measure.
After doing quite a bit of traveling this past year, I realize how thankful I am to live in the United States. We take freedom for granted. We also take our high standard of living for granted. We really have nothing to complain about and everything to be thankful for.
Lastly, I am thankful for my job. I have the pleasure of getting up every morning and doing what I love. How many people can honestly say that? I have the honor of working with good people (staff and board of directors) who work hard to keep the orchestra "on the road". And, of course, I get to conduct a great group of people. Not only are they good musicians, but they are good people. I wouldn't have it any other way.
What are you thankful for? Take a moment and thank God for your blessings.
First and foremost, I am thankful for my family. I have a loving wife who supports everything I do without complaint and with encouragement. I have two children who are good kids. I have a mother who faithfully drove me to trumpet lessons every week and a father (now deceased) who encouraged me to follow my musical dreams.
I am thankful for my friends. They have enriched my life beyond measure.
After doing quite a bit of traveling this past year, I realize how thankful I am to live in the United States. We take freedom for granted. We also take our high standard of living for granted. We really have nothing to complain about and everything to be thankful for.
Lastly, I am thankful for my job. I have the pleasure of getting up every morning and doing what I love. How many people can honestly say that? I have the honor of working with good people (staff and board of directors) who work hard to keep the orchestra "on the road". And, of course, I get to conduct a great group of people. Not only are they good musicians, but they are good people. I wouldn't have it any other way.
What are you thankful for? Take a moment and thank God for your blessings.
Tuesday, October 23, 2007
Youthful Exuberance
I have just returned from spending four days in Mobile, Alabama where I conducted the University of Mobile Community Orchestra. The ensemble is in its infancy, having presented just a few concerts. It is a typical group of its kind, made up of professionals from the area symphony (Mobile Symphony) and university students. I had a great time. I hope that I taught the students something about music making. I know that they taught me.
Sometimes we have to be reminded of things that we already know. For example, I know that I love my family, but it takes going away from home for a few days to realize just how much. And, I know that if I eat anything I want, I will gain weight. Knowing that, I still go off the bandwagon at times. (Okay, all the time.) Well, the students at the University of Mobile reminded me that music is a great way to make a living.
When I was a seventh-grader in Mrs. Hornaday's music appreciation class at Wabash Junior High School, Wabash, Indiana, I knew that I wanted to have a career in music. (Before that, I was convinced that I wanted to be a veterinarian--until I found out that math was involved.) I remember how exciting music was back then. I spent hours listening to music, practicing, and generally dreaming about conducting an orchestra. Over the years, however, I lost some of that "youthful exuberance".
Don't get me wrong--I am the luckiest man alive. I actually get to have a career in music. But it took the students at UM to remind me that we in the music business really are lucky. Music is a great way to make a living.
It's true that few get rich in our profession, but that just doesn't seem important to me now. Our jobs are never mundane like an assembly-line job (although some orchestral musicians would say if they have to play Beethoven Five again, they will scream. I say, "get over it". Would you rather put a widget in a square hole--500 times a day?) Unlike most jobs, we get instant gratification. (How many employees have large groups of people applaud for them for a job well done?) Perhaps most importantly, musicians get to make people happy. Sure, I appreciate my CPA when he gets me a tax refund, or my physician when she makes me well, but when I conduct a concert, I actually get to entertain people. What a privilege.
411 to all professional musicians: We are the luckiest group of professionals on earth. Stop complaining and count your blessings.
Sometimes we have to be reminded of things that we already know. For example, I know that I love my family, but it takes going away from home for a few days to realize just how much. And, I know that if I eat anything I want, I will gain weight. Knowing that, I still go off the bandwagon at times. (Okay, all the time.) Well, the students at the University of Mobile reminded me that music is a great way to make a living.
When I was a seventh-grader in Mrs. Hornaday's music appreciation class at Wabash Junior High School, Wabash, Indiana, I knew that I wanted to have a career in music. (Before that, I was convinced that I wanted to be a veterinarian--until I found out that math was involved.) I remember how exciting music was back then. I spent hours listening to music, practicing, and generally dreaming about conducting an orchestra. Over the years, however, I lost some of that "youthful exuberance".
Don't get me wrong--I am the luckiest man alive. I actually get to have a career in music. But it took the students at UM to remind me that we in the music business really are lucky. Music is a great way to make a living.
It's true that few get rich in our profession, but that just doesn't seem important to me now. Our jobs are never mundane like an assembly-line job (although some orchestral musicians would say if they have to play Beethoven Five again, they will scream. I say, "get over it". Would you rather put a widget in a square hole--500 times a day?) Unlike most jobs, we get instant gratification. (How many employees have large groups of people applaud for them for a job well done?) Perhaps most importantly, musicians get to make people happy. Sure, I appreciate my CPA when he gets me a tax refund, or my physician when she makes me well, but when I conduct a concert, I actually get to entertain people. What a privilege.
411 to all professional musicians: We are the luckiest group of professionals on earth. Stop complaining and count your blessings.
Monday, September 24, 2007
How would it make you feel to have your wrist slapped?
I just read the following news report:
In an article in today's Chicago Tribune, John von Rhein discusses Riccardo Muti's speaking to the CSO audience for applauding after the third movement of Tchaikovsky's Sixth Symphony. "Muti's unspoken point was that their premature applause, though well intentioned, broke the musical continuity and hidden program Tchaikovsky built into his final masterpiece. Some audience members no doubt found his comments condescending, but he made a valid point without bullying the newbies; and it seemed to me that everyone then listened to the finale with a greater understanding of how art and reality mingled so tragically at the end of the Russian composer's life."
For those of you who are unaware, the third movement of Tchaikovsky's Sixth Symphony ends with a bang, as if it is the ending movement. The final movement is atypical in that it ends softly and slowly, befitting the title of the symphony: The Pathetic. It is no surprise that Chicagoan's applauded when they did. The bigger question regards Muti's slap on their collective wrists for doing so.
Muti might be right about the fact that the applause interrupted the musical flow. However, when he spoke about the point (no matter how politely), what signal did he send to those in the audience? I think he said: You are uneducated. You just ruined this for everyone who is educated. Don't come back until you are educated.
And we in the orchestra world wonder why audiences are getting smaller....
In an article in today's Chicago Tribune, John von Rhein discusses Riccardo Muti's speaking to the CSO audience for applauding after the third movement of Tchaikovsky's Sixth Symphony. "Muti's unspoken point was that their premature applause, though well intentioned, broke the musical continuity and hidden program Tchaikovsky built into his final masterpiece. Some audience members no doubt found his comments condescending, but he made a valid point without bullying the newbies; and it seemed to me that everyone then listened to the finale with a greater understanding of how art and reality mingled so tragically at the end of the Russian composer's life."
For those of you who are unaware, the third movement of Tchaikovsky's Sixth Symphony ends with a bang, as if it is the ending movement. The final movement is atypical in that it ends softly and slowly, befitting the title of the symphony: The Pathetic. It is no surprise that Chicagoan's applauded when they did. The bigger question regards Muti's slap on their collective wrists for doing so.
Muti might be right about the fact that the applause interrupted the musical flow. However, when he spoke about the point (no matter how politely), what signal did he send to those in the audience? I think he said: You are uneducated. You just ruined this for everyone who is educated. Don't come back until you are educated.
And we in the orchestra world wonder why audiences are getting smaller....
Tuesday, August 28, 2007
Beam me up, Scotty!
As I write this blog, I am preparing for our regular season concert opener, entitled The Final Frontier. As you can probably guess, we will be doing space-inspired music. It got me to thinking about how many composers have been inspired by space through the years.
Look at the moon, for example. We have It's Only a Paper Moon, Moon River, By the Light of the Silvery Moon, Fly Me to the Moon, and Dark Side of the Moon--and that's what I could think of in 30 seconds!
Or how about stars? We have Stardust, When You Wish Upon a Star, and Star Wars. Planets? Earth Angel, Mozart's Jupiter symphony, Holst's The Planets, and the Beatles' Sun King. (Okay, I know. That's technically a star.)
I guess this brings new meaning to the idea of one having one's head in the clouds.
Look at the moon, for example. We have It's Only a Paper Moon, Moon River, By the Light of the Silvery Moon, Fly Me to the Moon, and Dark Side of the Moon--and that's what I could think of in 30 seconds!
Or how about stars? We have Stardust, When You Wish Upon a Star, and Star Wars. Planets? Earth Angel, Mozart's Jupiter symphony, Holst's The Planets, and the Beatles' Sun King. (Okay, I know. That's technically a star.)
I guess this brings new meaning to the idea of one having one's head in the clouds.
Saturday, August 4, 2007
Some people just don't get it
It's been too long since I posted to this site. In fact, when I saw that it had been almost one month, I was shocked. Of course, I have an excuse. As many of you know, I was just appointed music director of the Murfreesboro (Tennessee) Symphony Orchestra. I am quite enthused about the position. Murfreesboro is a great town with a lot of potential for a great orchestra. Maybe I will write more about the job later, but for now I want to grind my axe.
Anyone who has read this blog or talked to me personally, knows that I have an axe to grind when it comes to orchestral programming. The reason that I am going to talk about the subject yet again is that I read an article lately, written by a conductor whose orchestra was near bankruptcy. I couldn't believe my eyes. The guy was defending the traditional approach to programming and his orchestra almost ceased to exist! For those of you who don'tknow what I am talking about when I refer to the "traditional approach" to programming, here we go.
Most orchestras perform the usual overture, concerto, and symphony (in that order) on their regular concert programs and then have a separate pops series. In most cases, it's the pops concert ticket revenue that keeps the traditional programming alive. However, that is usually only true for orchestras with big budgets. It's different for smaller orchestras.
In the case of smaller orchestras, there are usually five or six regular, classical-type concerts (usually they are called the masterworks series) and two or three pops concerts. Unfortunately, in the case of small-budget orchestras, there are not enough pops concerts to pay for the regular concerts. And, the regular concerts are usually money-losers. Okay, I hear objections at this point. Some of you are saying, "No orchestra is able to make it on ticket sales alone." To which I reply, "Of course not." However, audience members start as ticket buyers and become donors later on. If an orchestra's audience is thin, so are the donors (unless the orchestra is relying on one or two BIG donors which, of course, is foolish with a capital "F").
So, orchestras go right along with this method and sometimes sail right into oblivion. I guess some conductors think it is better to not exist than to lower their standards, which is where I come in.
I believe that it is perfectly okay and even preferable to combine classical and popular music ON THE SAME PROGRAM. Who is it that decided a concert can only feature one genre of music? It certainly wasn't the famous composer Felix Mendelssohn (you know him--he wrote the tune that people play at the end of weddings). If you look at his concerts (around the middle of the 19th century), he programmed new classical music, old classical music, and arias from operettas (the 19th-century equivalent of the Broadway musical), all on the same program. BLASPHEMY!!!! Another guy who did the same was the march king, John Philip Sousa. He would perform "Turkey in the Straw," an aria from "La Boheme," and a march, one after the other. And, guess what? He was EXTREMELY successful. (At this point, there are conductors who are looking down their noses saying, "But he was a BAND DIRECTOR, not a serious musicians. I'm not going to touch that one with a ten-foot pole!).
All of this is common sense: play what the people want to hear. Of course, introduce them to music that challenges them, but for goodness sakes, don't bore them to tears or drive them out of the concert hall. After all, isn't it better to get people in the door who have never heard classical music by providing entertainment as well as culture? (I seriously think that there are some conductors who would just as soon perform for their 200-300 converts than to "lower their standards". To use an analogy, that would be like a pastor of a church only preaching to the saved and not trying to reach the unsaved!)
One thing I want those conductors to do is to tell me what pop music actually is. Why is the overture to Candide classical but West Side Story is pop? They were both written by Leonard Bernstein. Or IS West Side Story classical but My Fair Lady isn't? I get confused. Then there is Rhapsody in Blue by George Gershwin. Most conductors will lower themselves to play that on a regular concert, but they wouldn't perform Gershwin's songs with the rhapsody. Why not?
Some would say because the rhapsody is of a higher quality. Who decides that? As we used to say in the '70s (or was it the '80s?), "gag me with a spoon"!
Some people (conductors) just don't get it. For those of us who do, we can rest assured that we will at least have an orchestra to conduct. The "serious" folks will have to pry the baton out of my cold, dead-but happy- hand.
Anyone who has read this blog or talked to me personally, knows that I have an axe to grind when it comes to orchestral programming. The reason that I am going to talk about the subject yet again is that I read an article lately, written by a conductor whose orchestra was near bankruptcy. I couldn't believe my eyes. The guy was defending the traditional approach to programming and his orchestra almost ceased to exist! For those of you who don'tknow what I am talking about when I refer to the "traditional approach" to programming, here we go.
Most orchestras perform the usual overture, concerto, and symphony (in that order) on their regular concert programs and then have a separate pops series. In most cases, it's the pops concert ticket revenue that keeps the traditional programming alive. However, that is usually only true for orchestras with big budgets. It's different for smaller orchestras.
In the case of smaller orchestras, there are usually five or six regular, classical-type concerts (usually they are called the masterworks series) and two or three pops concerts. Unfortunately, in the case of small-budget orchestras, there are not enough pops concerts to pay for the regular concerts. And, the regular concerts are usually money-losers. Okay, I hear objections at this point. Some of you are saying, "No orchestra is able to make it on ticket sales alone." To which I reply, "Of course not." However, audience members start as ticket buyers and become donors later on. If an orchestra's audience is thin, so are the donors (unless the orchestra is relying on one or two BIG donors which, of course, is foolish with a capital "F").
So, orchestras go right along with this method and sometimes sail right into oblivion. I guess some conductors think it is better to not exist than to lower their standards, which is where I come in.
I believe that it is perfectly okay and even preferable to combine classical and popular music ON THE SAME PROGRAM. Who is it that decided a concert can only feature one genre of music? It certainly wasn't the famous composer Felix Mendelssohn (you know him--he wrote the tune that people play at the end of weddings). If you look at his concerts (around the middle of the 19th century), he programmed new classical music, old classical music, and arias from operettas (the 19th-century equivalent of the Broadway musical), all on the same program. BLASPHEMY!!!! Another guy who did the same was the march king, John Philip Sousa. He would perform "Turkey in the Straw," an aria from "La Boheme," and a march, one after the other. And, guess what? He was EXTREMELY successful. (At this point, there are conductors who are looking down their noses saying, "But he was a BAND DIRECTOR, not a serious musicians. I'm not going to touch that one with a ten-foot pole!).
All of this is common sense: play what the people want to hear. Of course, introduce them to music that challenges them, but for goodness sakes, don't bore them to tears or drive them out of the concert hall. After all, isn't it better to get people in the door who have never heard classical music by providing entertainment as well as culture? (I seriously think that there are some conductors who would just as soon perform for their 200-300 converts than to "lower their standards". To use an analogy, that would be like a pastor of a church only preaching to the saved and not trying to reach the unsaved!)
One thing I want those conductors to do is to tell me what pop music actually is. Why is the overture to Candide classical but West Side Story is pop? They were both written by Leonard Bernstein. Or IS West Side Story classical but My Fair Lady isn't? I get confused. Then there is Rhapsody in Blue by George Gershwin. Most conductors will lower themselves to play that on a regular concert, but they wouldn't perform Gershwin's songs with the rhapsody. Why not?
Some would say because the rhapsody is of a higher quality. Who decides that? As we used to say in the '70s (or was it the '80s?), "gag me with a spoon"!
Some people (conductors) just don't get it. For those of us who do, we can rest assured that we will at least have an orchestra to conduct. The "serious" folks will have to pry the baton out of my cold, dead-but happy- hand.
Tuesday, July 10, 2007
Do you suffer from EOS?
A recent e-zine from the American Symphony Orchestra League piqued my interest:
In Sunday’s San Diego Union-Tribune, Valerie Scher comments on what she calls “Excessive Ovation Syndrome (EOS for short),” writing: “Those suffering from it stand and applaud at performances that aren't good enough to deserve such enthusiasm. In extreme cases, they shout ‘Bravo!’ during events that are best forgotten. The more people pay for tickets, the more susceptible they are to EOS, because ovations confirm that their money was well spent. Even those in bargain seats can easily catch it from their neighbors. The urge to stand and cheer may be irresistible if everyone around you is doing it.” Scher adds: “On rare occasions -- the operative word here is ‘rare’ -- ovations are entirely appropriate ... As concertgoers, we must ask ourselves: Is this performance so exceptional that it merits a special response? Is this truly an event in which mere applause isn't enough? ... The danger is that ovations will become so routine that they'll hardly mean anything at all.”
I have to admit that I have often witnessed this awful disease. Without naming names, on several occasions I have attended concerts that were more deserving of "boos" and rotten tomatoes, let alone "hurrahs" and standing ovations. However, I disagree with Ms Scher's analysis. At the risk of sounding elitist, I believe that it is sheer ignorance and peer pressure that account for most standing ovations. What do I mean?
First, let me say that I am not talking about the situation where an entire audience simultaneously leaps to its collective feet to cheer a performance. No, I'm talking about the concerts were one or two patrons, usually near the front row, stand up and applaud. In my opinion, these types of people don't do it to make themselves feel better about spending a lot of money for tickets. Instead, I believe they stand out of pride for the ensemble or pure ignorance. Sometimes I think that some orchestras could sound worse than an elementary-level string group and still receive an ovation from some people. Let's face it, these people just don't know any better. For those who DO know better, I think it's akin to standing ovations that occur after a local football team loses the big game. The cheering is meant to be encouraging, sort of a "keep your chin up" kind of thing. That accounts for the instigators of the ovation, but why do others around them stand? Is it, as Ms Scher suggests, because it is "irresistible"?
I have to admit that I usually join in after the instigators begin the "wave". Why do I do it? It's not because it is "irresistible" as Ms Scher suggests. No. I do it because I don't want people to think I'm not a team player. It would sort of be like sitting down at the football game when everyone else is standing. I wouldn't want them to think that I was a traitor. So, knowing better, I will continue to stand.
What do you think?
In Sunday’s San Diego Union-Tribune, Valerie Scher comments on what she calls “Excessive Ovation Syndrome (EOS for short),” writing: “Those suffering from it stand and applaud at performances that aren't good enough to deserve such enthusiasm. In extreme cases, they shout ‘Bravo!’ during events that are best forgotten. The more people pay for tickets, the more susceptible they are to EOS, because ovations confirm that their money was well spent. Even those in bargain seats can easily catch it from their neighbors. The urge to stand and cheer may be irresistible if everyone around you is doing it.” Scher adds: “On rare occasions -- the operative word here is ‘rare’ -- ovations are entirely appropriate ... As concertgoers, we must ask ourselves: Is this performance so exceptional that it merits a special response? Is this truly an event in which mere applause isn't enough? ... The danger is that ovations will become so routine that they'll hardly mean anything at all.”
I have to admit that I have often witnessed this awful disease. Without naming names, on several occasions I have attended concerts that were more deserving of "boos" and rotten tomatoes, let alone "hurrahs" and standing ovations. However, I disagree with Ms Scher's analysis. At the risk of sounding elitist, I believe that it is sheer ignorance and peer pressure that account for most standing ovations. What do I mean?
First, let me say that I am not talking about the situation where an entire audience simultaneously leaps to its collective feet to cheer a performance. No, I'm talking about the concerts were one or two patrons, usually near the front row, stand up and applaud. In my opinion, these types of people don't do it to make themselves feel better about spending a lot of money for tickets. Instead, I believe they stand out of pride for the ensemble or pure ignorance. Sometimes I think that some orchestras could sound worse than an elementary-level string group and still receive an ovation from some people. Let's face it, these people just don't know any better. For those who DO know better, I think it's akin to standing ovations that occur after a local football team loses the big game. The cheering is meant to be encouraging, sort of a "keep your chin up" kind of thing. That accounts for the instigators of the ovation, but why do others around them stand? Is it, as Ms Scher suggests, because it is "irresistible"?
I have to admit that I usually join in after the instigators begin the "wave". Why do I do it? It's not because it is "irresistible" as Ms Scher suggests. No. I do it because I don't want people to think I'm not a team player. It would sort of be like sitting down at the football game when everyone else is standing. I wouldn't want them to think that I was a traitor. So, knowing better, I will continue to stand.
What do you think?
Friday, July 6, 2007
A Star-Spangled Evening
I am a softy when it comes to Independence Day. I absolutely love the music. In fact, when I reflect on the July 4th concert we presented Wednesday, I wonder: What is it about that music, in particular, that is so special? Why do I get teary-eyed when I hear America, the Beautiful? Is it the tune? The words? Or, perhaps, a combination of both?
Maybe it's the music. In fact, I typically don't pay attention to words at all. Maybe that's because I'm an instrumentalist. I have to REALLY like a tune before I bother to think about it's words. In fact, I like a lot of music that has terrible words (Jimmy Webb's MacArthur Park immediately comes to mind). No doubt, the patriotic standards I enjoy have good tunes. Nothing is more beautiful or memorable than America, the Beautiful or God Bless America. But it's not the tunes alone that touch my heart strings.
Maybe it's the words. Oh beautiful, for spacious skies, for amber waves of grain. Pretty catchy, huh? It is great poetry, but would these lines have the same impact if they were read alone without the tunes? I think not.
So, the answer to the question has to be this: the words and music work together. That seems logical. But it HAS to be more than that. After all, there are a lot of songs that have good tunes and good lyrics. But the music of Independence Day is different in some way.
Patriotic music is different because it carries with it a whole array of emotions. When I hear a medley of services songs, I get teary-eyed because it makes me think of all of the men and women who have died so that I can enjoy the blessings of being an American. It makes be emotional because I think of my dad. He enlisted in the United States Coast Guard during WWII, knowing that he might not survive the war. It makes me think of my brother who served in Vietnam and has never been the same since. These people really sacrificed. When I hear patriotic songs, I just don't hear words and music. I feel them.
All of you have similar stories. You also have particular songs that touch you the same way. It might be Christmas music, which brings back memories of childhood. It might be a pop song that you associate with your spouse. Whatever it is, you know what I'm talking about.
One thing I do know: there is nothing more powerful than music.
Maybe it's the music. In fact, I typically don't pay attention to words at all. Maybe that's because I'm an instrumentalist. I have to REALLY like a tune before I bother to think about it's words. In fact, I like a lot of music that has terrible words (Jimmy Webb's MacArthur Park immediately comes to mind). No doubt, the patriotic standards I enjoy have good tunes. Nothing is more beautiful or memorable than America, the Beautiful or God Bless America. But it's not the tunes alone that touch my heart strings.
Maybe it's the words. Oh beautiful, for spacious skies, for amber waves of grain. Pretty catchy, huh? It is great poetry, but would these lines have the same impact if they were read alone without the tunes? I think not.
So, the answer to the question has to be this: the words and music work together. That seems logical. But it HAS to be more than that. After all, there are a lot of songs that have good tunes and good lyrics. But the music of Independence Day is different in some way.
Patriotic music is different because it carries with it a whole array of emotions. When I hear a medley of services songs, I get teary-eyed because it makes me think of all of the men and women who have died so that I can enjoy the blessings of being an American. It makes be emotional because I think of my dad. He enlisted in the United States Coast Guard during WWII, knowing that he might not survive the war. It makes me think of my brother who served in Vietnam and has never been the same since. These people really sacrificed. When I hear patriotic songs, I just don't hear words and music. I feel them.
All of you have similar stories. You also have particular songs that touch you the same way. It might be Christmas music, which brings back memories of childhood. It might be a pop song that you associate with your spouse. Whatever it is, you know what I'm talking about.
One thing I do know: there is nothing more powerful than music.
Thursday, June 21, 2007
Are you tone deaf?
Through the years I have met several people who say they are tone deaf. I have always been skeptical of such comments. Usually what the person means is that they can't sing. There is a difference between not being able to distinguish between the relative highness or lowness of a musical pitch (tone deafness) and being unable to produce the pitch via the vocal chords. I HAVE met several people who cannot sing. (The worst thing is when they THINK they can sing, but they cannot.) Anyway, thanks to my friend, Mark Van Patten, at the Bowling Green Daily News, I am now aware of a tool that determines if one is, in fact, tone deaf.
Click on http://jakemandell.com/tonedeaf/. At the site you will find a test in which you, the listener, will be asked to determine if two musical phrases (played one after the other) are the same or different. I found the test to be pretty difficult. Sometimes my mind wanted to supply differences that were not there. Before I began, I was hesitant to even take the test. What if I, the maestro, scored at the bottom level? I finally decided that if I did fail, I had the option of pretending that it never occurred. In that case, I would definitely NOT bring it to the attention of anyone else. That was an easy decision. However, what if I didn't do that bad, but didn't score at the top? I decided to put my ego aside (not an easy thing for a conductor) and take the test.
I am happy to report that I did score at the top level....barely. I got a 91.7%. Go take the test and tell me how you did. And if you did better than me, please keep it to yourself.
Click on http://jakemandell.com/tonedeaf/. At the site you will find a test in which you, the listener, will be asked to determine if two musical phrases (played one after the other) are the same or different. I found the test to be pretty difficult. Sometimes my mind wanted to supply differences that were not there. Before I began, I was hesitant to even take the test. What if I, the maestro, scored at the bottom level? I finally decided that if I did fail, I had the option of pretending that it never occurred. In that case, I would definitely NOT bring it to the attention of anyone else. That was an easy decision. However, what if I didn't do that bad, but didn't score at the top? I decided to put my ego aside (not an easy thing for a conductor) and take the test.
I am happy to report that I did score at the top level....barely. I got a 91.7%. Go take the test and tell me how you did. And if you did better than me, please keep it to yourself.
Wednesday, June 13, 2007
Economic Impact of the Arts
I'm tired. I'm physically tired, true, but I'm most tired of hearing people say that the BGCO provides entertainment. Of course that's a big part of what we do, but we do much more than that. Rather than get into all the ways our orchestra contributes to the community, I want to focus on one: the BGCO's economic impact on Bowling Green.
Americans for the Arts conducted a national survey on the economic impact of the arts on 156 communities. (Visit www.AmericansForTheArts.org/EconomicImpact for more information.) They took the averages of the data they collected from the study and created an economic impact calculator where an organization can enter their figures and find out the impact the organization has on its community. I entered the information for the BGCO and learned the following:
Last season our organization supported the equivalent of 13.9 jobs in our community. Next season we are on track to support 17.1 jobs.
The City of Bowling Green received $14,608 (license fees, taxes, etc.) as a result of the BGCO. Next year will be about $18,065.
Audiences spent about $706,500 as a result of our events last year.
The BGCO’s total economic impact last year was $1,201,336. Next year will be closer to $1,318,463.
Not bad for a group that entertains.
Americans for the Arts conducted a national survey on the economic impact of the arts on 156 communities. (Visit www.AmericansForTheArts.org/EconomicImpact for more information.) They took the averages of the data they collected from the study and created an economic impact calculator where an organization can enter their figures and find out the impact the organization has on its community. I entered the information for the BGCO and learned the following:
Last season our organization supported the equivalent of 13.9 jobs in our community. Next season we are on track to support 17.1 jobs.
The City of Bowling Green received $14,608 (license fees, taxes, etc.) as a result of the BGCO. Next year will be about $18,065.
Audiences spent about $706,500 as a result of our events last year.
The BGCO’s total economic impact last year was $1,201,336. Next year will be closer to $1,318,463.
Not bad for a group that entertains.
Friday, May 25, 2007
Trip to Korea
Sorry that it has been so long since my last post. I just got back from a guest conducting trip to Busan, Korea. What a great experience. The orchestra was great and the people were even greater.
The trip made me once again realize what a universal language music really is and how people are pretty much the same the world over. The orchestra had never heard the music of English composer John Rutter or American composer Aaron Copland. They immediately liked both. In fact, the orchestra was a little skeptical of playing this "new" music at the first rehearsal. By the end of the week the Rutter was their favorite piece on the program. Copland's Hoedown was the encore. The audience loved it!
The lessons I learned on the trip were these: 1) Good music appeals to people of all nations; 2) Music is a common language that has the power to bring people together. The United Nations would be well served to remember this.
The trip made me once again realize what a universal language music really is and how people are pretty much the same the world over. The orchestra had never heard the music of English composer John Rutter or American composer Aaron Copland. They immediately liked both. In fact, the orchestra was a little skeptical of playing this "new" music at the first rehearsal. By the end of the week the Rutter was their favorite piece on the program. Copland's Hoedown was the encore. The audience loved it!
The lessons I learned on the trip were these: 1) Good music appeals to people of all nations; 2) Music is a common language that has the power to bring people together. The United Nations would be well served to remember this.
Friday, April 27, 2007
Notable Art, Notable Artists
As I write this blog posting, the orchestra is preparing for its Notable Art event this weekend. On Saturday, April 28, 2007, The Encore (the volunteer arm of the orchestra) will present an auction of painted instruments to benefit the orchestra. Old, unplayable, violins, a bass drum, and cymbals, have been transformed into works of art by local, regional, and international artists. No, they haven't painted pictures of violins on a canvas. The artists are actually painting on the instruments themselves. I must say--they are all quite amazing. But that's not why I am writing this.
What is really amazing about the event is that fifteen artists donated their time and talents to benefit another arts organization. We all know about "starving artists." It would be one thing to create a work of art free of charge for a public building, a school, or some other more public cause. However, to labor on an instrument so that another arts group would benefit is...Did I say it? Amazing!
Thank you to all of those artists, starving and otherwise, who helped us put this event together.
What is really amazing about the event is that fifteen artists donated their time and talents to benefit another arts organization. We all know about "starving artists." It would be one thing to create a work of art free of charge for a public building, a school, or some other more public cause. However, to labor on an instrument so that another arts group would benefit is...Did I say it? Amazing!
Thank you to all of those artists, starving and otherwise, who helped us put this event together.
Wednesday, April 11, 2007
Community Value?
I spent yesterday morning (5:30 a.m. until early afternoon) traveling to and from Frankfort to hear the orchestra's grant application read. We had applied for funding from the Kentucky Arts Council for general operating support. Arts organizations from across the commonwealth had gathered at a motel to hear a panel of out-of-state guests comment on their applications. The four panelists had the opportunity to comment on each application publicly. After that, they privately scored each organization. The scores determines how much, if anything, each arts group would receive from the state.
Anyone involved in grant writing will tell you that there are certain "buzz words" that grant readers look for. Unfortunately, they seem to change from year to year and with different panels. The buzz words for yesterday morning were "community value." With each application, the panelists often commented on whether the arts organization being discussed knew (and had articulated in their application) what value they added to their community. It got me to thinking. What value does the BGCO contribute to south central Kentucky?
One way to look at value is this: If the BGCO didn't exist, would it be missed? Here are ten ways I believe the BGCO adds value to south central Kentucky.
If the BGCO closed its doors tomorrow:
1) There would be no youth orchestras--70-80 kids would have no where to learn how to play orchestral music.
2) There would be no string academy--130 kids/adults would have to seek string instruction elsewhere (it would have to be out of town).
3) There would be no retro concerts--no Beatlemadness, Motownmadness, '70s Show, etc. etc.
4) There would be no free, July 4th concert and fireworks show at WKU.
5) There would be no concerts at Living Hope--no more Larnelle Harris singing Christmas songs with the orchestra; no more Tim King singing "MacArthur Park"; no more Sylvia Kersenbaum playing "Rhapsody in Blue".
6) There would be no children's cushion concerts at the Train Depot.
7) There would be no Perry Penguin's club for kids.
8) There would be no Bowling Green Chamber Singers to sing songs from Rodgers & Hammerstein and "Porgy and Bess".
9) There would be no Bowling Green Chamber Players to provide small ensembles for parties, weddings, receptions, etc.
10) There would be no professional chamber orchestra right here in Bowling Green.
I have listed ten ways the BGCO contributes value to our community. How does the BGCO make your life better? Please share your thoughts.
Anyone involved in grant writing will tell you that there are certain "buzz words" that grant readers look for. Unfortunately, they seem to change from year to year and with different panels. The buzz words for yesterday morning were "community value." With each application, the panelists often commented on whether the arts organization being discussed knew (and had articulated in their application) what value they added to their community. It got me to thinking. What value does the BGCO contribute to south central Kentucky?
One way to look at value is this: If the BGCO didn't exist, would it be missed? Here are ten ways I believe the BGCO adds value to south central Kentucky.
If the BGCO closed its doors tomorrow:
1) There would be no youth orchestras--70-80 kids would have no where to learn how to play orchestral music.
2) There would be no string academy--130 kids/adults would have to seek string instruction elsewhere (it would have to be out of town).
3) There would be no retro concerts--no Beatlemadness, Motownmadness, '70s Show, etc. etc.
4) There would be no free, July 4th concert and fireworks show at WKU.
5) There would be no concerts at Living Hope--no more Larnelle Harris singing Christmas songs with the orchestra; no more Tim King singing "MacArthur Park"; no more Sylvia Kersenbaum playing "Rhapsody in Blue".
6) There would be no children's cushion concerts at the Train Depot.
7) There would be no Perry Penguin's club for kids.
8) There would be no Bowling Green Chamber Singers to sing songs from Rodgers & Hammerstein and "Porgy and Bess".
9) There would be no Bowling Green Chamber Players to provide small ensembles for parties, weddings, receptions, etc.
10) There would be no professional chamber orchestra right here in Bowling Green.
I have listed ten ways the BGCO contributes value to our community. How does the BGCO make your life better? Please share your thoughts.
Tuesday, April 3, 2007
BGCO applies for city funding
Many of you will remember that last year the Bowling Green Chamber Orchestra applied for and was denied funding from the City of Bowling Green. Those voting for funding were Mayor Elaine Walker and Delane Simpson. Those voting against funding were Brian Strow, Brian "Slim" Nash and Mark Alcott.
Last week we once again applied for funding. Mayor Walker and Commissioners Strow and Nash remain on the commission. New members include Commissioners Bruce Wilkerson and Joe Denning. I have personally spoken to Mayor Walker and Commissioner Wilkerson, who have both indicated that they will support our request. Members of our board have spoken to Commissioner Denning, who also supports the orchestra. Consequently, it appears that we have the three votes needed to obtain funding. However, we cannot take anything for granted. Please contact the entire city commission and ask them to support the BGCO.
Why should the city support the chamber orchestra? For one thing, of the four largest cities in Kentucky, Bowling Green is the only city that does not fund its orchestra. Owensboro, for example, receives $50,000 from the city (according to the last information I had on the subject).
Another reason for city funding is the fact that the BGCO provides a free, Fourth of July concert at Western Kentucky University's campus. The 70-minute concert also includes a free fireworks display. Last season we had over 15,000 people in the audience! This is our gift to the community, but it is the most expensive concert we produce. Doesn't it make sense that the city should support an arts event that is accessible to ALL of its citizens?
Although there are several other reasons for the city to support us, the primary reason is the "quality of life" issue. Isn't all government funding a matter of quality of life? After all, why do we want new roads? More police protection? How about parks? Golf courses? Skate parks?
In our own special way, we at the BGCO believe that we make Bowling Green a better place to live.
Shouldn't the orchestra that proudly bears the city's name receive its support?
Jeff Reed
Last week we once again applied for funding. Mayor Walker and Commissioners Strow and Nash remain on the commission. New members include Commissioners Bruce Wilkerson and Joe Denning. I have personally spoken to Mayor Walker and Commissioner Wilkerson, who have both indicated that they will support our request. Members of our board have spoken to Commissioner Denning, who also supports the orchestra. Consequently, it appears that we have the three votes needed to obtain funding. However, we cannot take anything for granted. Please contact the entire city commission and ask them to support the BGCO.
Why should the city support the chamber orchestra? For one thing, of the four largest cities in Kentucky, Bowling Green is the only city that does not fund its orchestra. Owensboro, for example, receives $50,000 from the city (according to the last information I had on the subject).
Another reason for city funding is the fact that the BGCO provides a free, Fourth of July concert at Western Kentucky University's campus. The 70-minute concert also includes a free fireworks display. Last season we had over 15,000 people in the audience! This is our gift to the community, but it is the most expensive concert we produce. Doesn't it make sense that the city should support an arts event that is accessible to ALL of its citizens?
Although there are several other reasons for the city to support us, the primary reason is the "quality of life" issue. Isn't all government funding a matter of quality of life? After all, why do we want new roads? More police protection? How about parks? Golf courses? Skate parks?
In our own special way, we at the BGCO believe that we make Bowling Green a better place to live.
Shouldn't the orchestra that proudly bears the city's name receive its support?
Jeff Reed
Friday, March 16, 2007
New Subscription Series
I am quite excited about a new subscription series that we have begun for the first time this season. For the past five years, we have presented individual concerts, featuring a rock band, singers and the orchestra. The "madness" concerts have grown to be quite popular, sometimes selling as many as 2,000 tickets per show.
Last season we surveyed our audiences, asking if they would consider purchasing a subscription to the series. They overwhelming said that they would. So, we have developed a new Retro Series, featuring three concerts. We named it the Retro Series because our goal in each of the concerts is to take the listeners down memory lane. We have featured the music of the Beatles, Motown and the '70s. In addition to Motown, next season we are adding a One-Hit Wonders show and Countrymadness. In the One-Hit Wonders show we will explore groups that had one hit and then disappeared from the musical scene. Lest you think the concert will be a snoozer, visit www.onehitwondercentral.com and peruse their list of hits. The country show will feature what is know as classic country, focusing on songs that used orchestra on the recordings. We will do the music of Charlie Rich, Glen Campbell, Patsy Cline, and so many others.
The first year for the subscriptions is a critical one. Since this is the first season, all seats are open. Season ticket holders will get first chance at the best seats in the house. They will also be able to renew from year to year.
If you are interested in tickets, call the orchestra office at (270) 846-BGCO (2426).
Last season we surveyed our audiences, asking if they would consider purchasing a subscription to the series. They overwhelming said that they would. So, we have developed a new Retro Series, featuring three concerts. We named it the Retro Series because our goal in each of the concerts is to take the listeners down memory lane. We have featured the music of the Beatles, Motown and the '70s. In addition to Motown, next season we are adding a One-Hit Wonders show and Countrymadness. In the One-Hit Wonders show we will explore groups that had one hit and then disappeared from the musical scene. Lest you think the concert will be a snoozer, visit www.onehitwondercentral.com and peruse their list of hits. The country show will feature what is know as classic country, focusing on songs that used orchestra on the recordings. We will do the music of Charlie Rich, Glen Campbell, Patsy Cline, and so many others.
The first year for the subscriptions is a critical one. Since this is the first season, all seats are open. Season ticket holders will get first chance at the best seats in the house. They will also be able to renew from year to year.
If you are interested in tickets, call the orchestra office at (270) 846-BGCO (2426).
Friday, March 2, 2007
Baltimore Symphony
How does the saying go? "I have to laugh, lest I cry." Every week I receive an e-zine (electronic magazine) from an organization called Musical America. They are best known for publishing a book that contains every orchestra, soloist, agent, etc. in the music world. Anyway, their e-zine contains abbreviated news stories. Here is today's story. It comes from www.musicalamerica.com:
Baltimore Slashes Ticket Prices, Welcomes Marin Alsop
BALTIMORE -- With $25 seats and programs by contemporary composers, the Baltimore Symphony Orchestra hopes to do away with two common complaints about classical music -- cost and old-fashioned music.
The subscription rate for the upcoming season amounts to $25 per seat per concert, representing a 40 percent reduction. The new plan coincides with Marin Alsop’s first season as music director. "The whole organization is energized," says players’ committee head Jane Marvine. "It's all fabulous. This is so much about what Marin is giving, not getting."
Now, I think it's great that Baltimore is able to cut their ticket prices. Of course, the first thing I noticed was the assertion that their subscription ticket price "amounts to $25 per seat per concert." The Bowling Green Chamber Orchestra's most expensive subscription seat amounts to $20 per seat per concert. What a value! (If their seats used to be 40% more, no wonder they have had difficulty filling them.) Anyway, what made me laugh was the statement that the BSO hopes to do away with "old-fashioned music" by replacing it with music of contemporary composers.
As a conductor, the one thing I can honestly say I have never heard from audience members is that I need to play more new music. In fact, my experience has been that audiences want to hear "old-fashioned" music. Many of you have heard me rant on this topic before. I believe audiences want to hear what they know--not something new.
One of the successes of the Bowling Green Chamber Orchestra has been its programming. We combine classical and popular music on the same program. All of the music, regardless of genre, is tied together via a common theme. For example, in January we took a musical trip around the world with Gershwin's An American in Paris and music from Broadway, among others. The point is, we mostly play what people already know. There is a reason that people like Beethoven's 5th symphony, or a song by George and Ira Gershwin: they have withstood the test of time.
The BGCO's approach is what caused best-selling author Seth Godin to write about us in his latest book, Small is the New Big. Godin says that the BGCO understands worldview. He points out that a very small percentage of the public love traditional, classical music. Godin says that the BGCO is successful because it puts on a "show that people want to experience." Pg. 14 (Godin, Seth. Small is the New Big. New York, NY: The Penguin Group 2006).
I wonder what Seth would say about an orchestra that thinks the answer to declining attendance lies with new music? Does the Baltimore Symphony really think that the public wants to hear music from a living composer rather than Tchaikovsky? Don't get me wrong. I like new music. Our own composer in residence, Dr. Charles W. Smith, has written many fine compositions for my orchestra. What I'm saying is, I don't think audiences want to hear new music to the exclusion of the oldies.
What do you think?
Baltimore Slashes Ticket Prices, Welcomes Marin Alsop
BALTIMORE -- With $25 seats and programs by contemporary composers, the Baltimore Symphony Orchestra hopes to do away with two common complaints about classical music -- cost and old-fashioned music.
The subscription rate for the upcoming season amounts to $25 per seat per concert, representing a 40 percent reduction. The new plan coincides with Marin Alsop’s first season as music director. "The whole organization is energized," says players’ committee head Jane Marvine. "It's all fabulous. This is so much about what Marin is giving, not getting."
Now, I think it's great that Baltimore is able to cut their ticket prices. Of course, the first thing I noticed was the assertion that their subscription ticket price "amounts to $25 per seat per concert." The Bowling Green Chamber Orchestra's most expensive subscription seat amounts to $20 per seat per concert. What a value! (If their seats used to be 40% more, no wonder they have had difficulty filling them.) Anyway, what made me laugh was the statement that the BSO hopes to do away with "old-fashioned music" by replacing it with music of contemporary composers.
As a conductor, the one thing I can honestly say I have never heard from audience members is that I need to play more new music. In fact, my experience has been that audiences want to hear "old-fashioned" music. Many of you have heard me rant on this topic before. I believe audiences want to hear what they know--not something new.
One of the successes of the Bowling Green Chamber Orchestra has been its programming. We combine classical and popular music on the same program. All of the music, regardless of genre, is tied together via a common theme. For example, in January we took a musical trip around the world with Gershwin's An American in Paris and music from Broadway, among others. The point is, we mostly play what people already know. There is a reason that people like Beethoven's 5th symphony, or a song by George and Ira Gershwin: they have withstood the test of time.
The BGCO's approach is what caused best-selling author Seth Godin to write about us in his latest book, Small is the New Big. Godin says that the BGCO understands worldview. He points out that a very small percentage of the public love traditional, classical music. Godin says that the BGCO is successful because it puts on a "show that people want to experience." Pg. 14 (Godin, Seth. Small is the New Big. New York, NY: The Penguin Group 2006).
I wonder what Seth would say about an orchestra that thinks the answer to declining attendance lies with new music? Does the Baltimore Symphony really think that the public wants to hear music from a living composer rather than Tchaikovsky? Don't get me wrong. I like new music. Our own composer in residence, Dr. Charles W. Smith, has written many fine compositions for my orchestra. What I'm saying is, I don't think audiences want to hear new music to the exclusion of the oldies.
What do you think?
Wednesday, February 28, 2007
My first blog
Welcome to my first-ever blog! For those of you who, like me a few months ago, don't know what a blog is, it is a type of on-line conversation. I will post my comments and you can post your response. Here are the rules:
1) Any comments that are offensive or contain profanity will be removed immediately. The BGCO will be the arbiter of taste.
2) Please make your comments constructive and relevant.
I plan to write about musical matters and new developments at the Bowling Green Chamber Orchestra. I sincerely want to hear your honest opinion about my comments and the BGCO, generally. A two-way conversation is the only way we will be able to know how to meet the needs of our patrons. I look forward to hearing from you.
Thank you for your interest in our organization!
Jeff
http://www.bgco.com
1) Any comments that are offensive or contain profanity will be removed immediately. The BGCO will be the arbiter of taste.
2) Please make your comments constructive and relevant.
I plan to write about musical matters and new developments at the Bowling Green Chamber Orchestra. I sincerely want to hear your honest opinion about my comments and the BGCO, generally. A two-way conversation is the only way we will be able to know how to meet the needs of our patrons. I look forward to hearing from you.
Thank you for your interest in our organization!
Jeff
http://www.bgco.com
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