Arts Issues
Submitted by Jim Hirsch on Thu, 09/11/2008 - 9:29am.
I read in a recent League of American Orchestras email that a study has just been
completed that asked people to describe their personality traits and then asked subjects to list their favorite styles of music. Apparently there is a link between heavy metal and classical music fans due to their shared “love of the grandiose” and big, loud, brash music. According to the researcher, besides their age differences, both are basically the same type of person. Hmmm. Maybe Wagner was a precursor to Metallica.
An earlier League email referenced a book, The Mating Mind, written by Evolutionary Psychologist Geoffrey Miller discussing why we find musicians and singers sexy. “Looking at things from a biological point of view,” writes MacLeod, “we would normally expect women to be attracted to men with qualities that indicate good genes that can be passed on to her children or those that show he can look after a family, like a wad of cash for instance. Music doesn’t seem to serve any practical purpose. Musical ability, along with other creative skills, are rather like a human version of the peacock’s tail; something that has no survival value, but has evolved precisely because it is found attractive by the opposite sex….
As a former professional musician, I can pretty safely say that if this is true, it unfortunately has fallen outside of my personal experience. I’m wondering if any of you would care to comment on these two interesting subjects?
Click here to continue reading
Posted in
Today's guest blog is written by Dileep Gangolli, Clarinetist with the Chicago Sinfonietta
While playing with my wife’s new computer, I stumbled on a desktop prompt for Pandora Radio which connected me to a world of streaming Classical music organized in a highly logical mathematical manner.
I was immediately taken by the way the music is presented and delivered (at no cost to the listener). I am anxious to get the thoughts of others on this method of classical music distribution.
After signing up for Pandora Radio, listeners are invited to create their “own radio stations” that feature their favorite composers. I have stations that feature Mozart, Bach, Schubert, Mahler, and Coldplay among others.
But what is so interesting is that the musical selections are not just of the selected composers but of those that compose in a similar manner either by being of the same time period or by being similar in aesthetic. So Mozart could precede a neo-classical work by Stravinsky that would then be followed by a composition by Varese or Satie. This type of musical organization is a by-product of the Musical Genome Project.
I “Googled” the MGP and this is what surfaced on Wikipedia:
Click here to continue reading
Posted in
Today's guest blog was co-written by Jean Cook, Deputy Director and Casey Rae-Hunter Communications Director; both of of The Future of Music Coalition
When you think of classical music listeners, you might not picture web-savvy youth firing off blog posts about the great recital they just attended, or flitting through social networks to interact with their favorite contemporary ensemble. But according to Sidney Chen, Artistic Administrator of the avant-classical ensemble Kronos Quartet, all that and more is currently happening online, thanks to a cool little concept called net neutrality.
Net neutrality is the principle that protects the open Internet. It allows musicians to distribute their work in any way they want, without interference from gatekeepers and middlemen. It also provides fans with a plethora of legal ways to get their musical fix, often directly from the artist. But big telecommunications and cable companies want to change the fundamental structure of the internet by charging those who put content on the web — artists, filmmakers etc. — a fee for the faster delivery of their sights and sounds. If they couldn’t afford to (or didn’t want to) pay this toll, they’d be forced into in the information superhighway’s slow lane.This would be devastating to artists like Kronos Quartet, who depend on the Internet to reach potential audiences. “Our projects don’t normally fit neatly into genres,” Chen says. “The Internet allows us to reach those people who aren’t reliant solely on mainstream media and other information gatekeepers.”
Exploration celebration
According to Chen, Kronos fans come from a wide variety of backgrounds, ages, and locations. “The consistent thread that ties together all of our fans is that they’re adventurous listeners,” he relates. “The Internet has allowed us to find people who are just out there exploring and looking for new and interesting sounds. It’s allowed us to have a direct, two-way connection with our existing fans and also uncover new audiences.”
Click here to continue reading
Posted in
Submitted by Jim Hirsch on Thu, 07/31/2008 - 9:39am.
A friend sent me a link to an interesting blog written by Amanda Ameer entitled, “Someone, please just bring the water to 
the horse”. This fun-to-read, thought-provoking blog is about how orchestras can do a better job of marketing events to younger consumers. Think of it as our field’s Holy Grail.
I think you will enjoy reading this even if you are not an orchestra marketing director. I’d love to get your take on her conclusions so please return to our site and leave a comment after reading Amanda’s blog, and maybe share some ideas you might have. Enjoy!
Click here to continue reading
Posted in
The great gift that is Millennium Park, with its kaleidoscopic variety of free performances in the heart of the city during the (mostly) warm months of the year, continues to fulfill its promise as a place of musical discovery. No matter if you have neither money nor plans for an arts experience - there it is, for anyone walking in the area, daring you to experience sights and sounds that otherwise might not be part of your life.
I am not talking about veteran patrons who can parse out interpretive variations of gnarly warhorse repertoire or name everyone in the Grant Park Orchestra wind section from memory. It is all the others who have not yet had the opportunity, for whatever reason, to make proper contact with the excitement of live performances of unfamiliar music whether it is “classical”, jazz, Afro-pop, Tibetan monks, or a world of other great music that are the greatest beneficiaries. The connection is there to be made just by walking by Pritzker Pavilion, peeking over the wall, or sitting on the grass. No charge.
As part of this wonderful scenario, the School of Music at Northwestern University recently completed its third annual performance at Pritzker Pavilion. From a programming aspect, this is an interesting opportunity to stretch out and try things that we would not normally have the personnel or rehearsal time to attempt.
The first year featured a monster piano concert: 10 Steinway grands, 14,000 pounds of pianos, 880 keys, 2,300 strings, 5 piano tuners, and 300 tons of string tension. The second year was a very uplifting explosion of percussion including 28 marimbas celebrating Clair Musser’s (former School of Music faculty member) great marimba orchestra that performed at the 1933 Chicago World’s Fair.
This year – we upped the ante to three ensembles: an orchestra of 50 cellos (ah, the Barber Adagio never sounded more engaging; an orchestra of forty-five saxophones (complete with contra bass tubaxes) performing Rhapsody In Blue – Paul Whiteman must have been smiling; and a large brass ensemble performing an arrangement of Richard Struass’ Alpine Symphony.
What all of these have in common are audiences at the rehearsals that always exceed the capacity of our beloved Pick-Staiger Concert Hall. (1,000) No doubt about it, we are reaching the general public and it is a beautiful thing to see the look of amazement and hear enthusiastic applause even at rehearsals. (The official attendance estimates for the actual concerts have been around 9,000.)
It is our great privilege to be a small part of this incredible musical offering. Send your friends, and strangers as well, to experience and support these events. It makes the summertime in Chicago second to none. Most of all, let’s keep art alive in public places and avoid the moldy edges that insinuate themselves when things are left cloistered in the same place for too long. There is no better way to expand our base of support.
Click here to continue reading
Posted in
Submitted by Jim Hirsch on Mon, 06/23/2008 - 10:35am.
I was in Denver last week for the League of American Orchestras annual conference. The League meetings are always a treat and this one had some great highlights including a killer keynote address by Jim Collins, the author of Good to Great, 
a moving presentation by El Sistema creator, José Antonio Abreu, and an emotional farewell to the League’s retiring CEO, Henry Fogel.
The Collins presentation was particularly useful as he has created a not-for-profit version of his best-selling business book that is widely available. I highly recommend this for anyone involved with a not-for-profit.
One short comment on Maestro Abreu. It is clear to me why he has been able to develop what might be the most successful orchestra education program to be found anywhere in the world. I simply can’t imagine anyone ever saying no to him. In case some of you haven’t seen this, this is a YouTube clip of the Simon Bolivar Orchestra (the best players from El Sistema) under the baton on Dudamel.
Finally, Henry Fogel presided over his final LOA conference. Henry has done an amazing job as CEO of the League and all of us in the orchestral world owe him big time. Thanks Henry!!
I’m off for a few weeks but will be looking for items of interest for this blog on all of the golf courses I plan on visiting.
Click here to continue reading
Posted in
A recent concert at the Kennedy Center in Washington featuring five outstanding student performers from the Northwestern University School of Music brought to mind many excellent musical performances available right here in the Chicago market. These student performances, by the next generation of professional musicians, are often overlooked or discounted in favor of higher profile, but not necessarily higher quality, concerts. This is a plentiful and underappreciated musical resource. (Perhaps we can ignite the blogosphere to share ideas about combating the counterproductive pattern of “celebritymusicianphobia” that motivates many patrons and inspires redundancy in arts programmers.)
The School of Music concert at the Kennedy Center was part of the
Conservatory Project that twice a year features outstanding students from the top music schools in the United States. These schools include Juilliard, Eastman, Curtis, Indiana, Manhattan, New England Conservatory, Berkley, San Francisco, and Northwestern University among others. (You can watch streaming video archives of this series by going to: http://www.kennedycenter.org/programs/millennium/conservatory.html)
If these student performances are a bellwether for the future of classical music, then we are in fine shape indeed. Just as college sports often exceed the creativity and energy found at the professional level, so too do these inspiring young artists have that potential. Their vitality and fresh approach to familiar and new repertoire is a wonderful thing to experience.
Most importantly, you do not have to travel out of state to find such performances. A little online research of Chicago area music school calendars will reveal a treasure of concerts and recitals that will surprise, enlighten and entertain your musical muse. Many of them are free of charge. It is all there, just below the surface.
For the record, the five Northwestern University students who recently performed at the Kennedy Center were: Deanna Talens, cello (pictured above with Kay Kim); Ellen Huntington, flute; Jennise Hwang, violin; Karin Bliznik, trumpet; and Sergiy Komirenko, piano. Remember those names. They will be lighting up stages for many years to come.
Click here to continue reading
Posted in
Submitted by AngelaG on Fri, 05/30/2008 - 11:39am.
Today's blog is written by special guest, Jerry Fuller of Ars Antigua
I'm really looking forward to this coming week. I will be performing concerts with Chicago's Baroque Band that will use period instruments on June 4, 5 and 11. During the same week I will be playing with an orchestra using modern instruments for Chicago Opera Theater's new production of Handel's opera "Orlando" on June 3, 6, and 8. It will be interesting to perform back to back concerts using modern instruments for one and period instruments for the other to see what the musical impact is in each situation. I invite you to attend a performance of each and let me know if you prefer the use of modern instruments or period instruments and why.
In the meantime check out the free music downloads avialable at ArsAntiguaPresents.com. This month we are featuring "Elizabethan Delites" and in June you will hear music of the Scottish Baroque.
Click here to continue reading
Posted in
Submitted by Jim Hirsch on Thu, 05/29/2008 - 4:27pm.
I’ve been thinking a lot about our economy recently. I’m wondering how $4 per ga
llon gas, a weakening dollar, the sub-prime mortgage mess, a huge federal deficit, and other economic trends will affect the micro-economy of classical music. The challenge for organizations like the Chicago Sinfonietta is that we make artistic commitments and budget assumptions up to 18 months in advance. Who knew last January when we were finalizing our 2008-2009 season that the stock market would decline significantly and that gas prices would set daily records? Would we have done anything differently had we known that the economy was headed for a downturn? Hmmm….. So,
How do you think will these factors affect attendance?
How do you think funding and sponsorship might be affected?
How should we as arts managers react to uncertain times like these?
What other factors do you anticipate affecting classical music in the future? Maybe I’m a bit pessimistic, but I’m not real happy with what I’m hearing and seeing right now. Can someone talk me down off the ledge?
Click here to continue reading
Posted in
Submitted by Jim Hirsch on Tue, 04/29/2008 - 7:19am.
A couple of strange things have crossed my computer screen this week and I would really love to get your opinion about them.
Earlier this week a friend emailed me an article about a robot conducting an orchestra. Okay, hold the jokes about conductors for a second. Honda’s ASIMO humanoid robot will take command of the baton in Detroit on May 13 and will conduct the Detroit Symphony Orchestra as it performs Impossible Dream to open a concert performance featuring cellist Yo-Yo Ma.
I think we can all agree that robots are unlikely to replace humans on the podium anytime soon. What’s interesting about this is that Honda is a major donor to DSO, and one gets the feeling that putting ASIMO on the podium might somehow be tied to the sponsorship. I’m all for acknowledging the wonderful corporate partners who support our work, but does this go too far?
Another item that caught my eye was from the League of American Orchestra’s newsletter. Apparently classical composers and folk musicians are collaborating on creating new music for orchestras. Not exactly a new idea given the use of folk music themes throughout classical music history, but up until recently, using folk influences was considered déclassé. How do you feel about this renewed interest in vernacular music?
Finally, speaking of traditional music, the Chicago Sinfonietta will be presenting the world premiere of Three Songs for Blues Singer and Orchestra created by composer/arranger Larry Hoffman on May 11th and 12th featuring Muddy Water’s long-time guitarist, John Primer. We are pleased to offer registered users of this site a “hot deal” to attend this concert that will also feature pianist Leon Bates performing Rhapsody in Blue and Pictures at an Exhibition performed with a never-before-seen video created by astronomer and video artist José Francisco Salgado.
Click here to continue reading
Posted in
