Stürmisch bewegt... discussions on Mahler con brio

My current schedule in the last few months leaves me with little time to be able to follow all interesting publications. During some hasty breakfasts, I quickly browse my RSS-feeds to get at least a glimpse of what I am missing. While two conducting colleagues on their blog give their respective opposite - but both evenly interesting to read - experiences on conducting Mahler's 5th Symphony. Obviously as a Mahlerite myself, I do find it worthwhile to read critics of his music, most of all to take once in a while a distance and reflect on my own position towards his compositions. So far for the light reading: A couple of days ago, suddenly articles appeared on Gilbert Kaplan's Mahler's 2nd performance in New York. Having known Mr. Kaplan's devotion to Mahler's 2nd Symphony for a couple of decades, this was not quite new to me, until I glanced over a few comments going with the respective articles...

What caught my (professional) attention, was the large variety of different opinions, especially from professional musicians, on conducting itself. To repeat all the pros and cons from the whole discussion would be too boring, I guess, but with some amusement I do read the most fervent argumentations. What most strikes me, is that when thinking about the whole discussion, and if taken out of context, many arguments are evenly be applied to any other conductor. Mr. Kaplan's non-professional conducting background is highly being criticised (I must admit, I never had the chance, seeing him perform myself). Yet, all the described "faults" and critique could be used at many professional colleagues conductors, who (thus) are supposed not to make such mistakes... a contraire. Many professional conductors should never have gotten into this business, but circumstances decided otherwise - and it was obviously not always their excellent talent nor skill.

This makes perhaps this job of being a conductor so mysterious: aside from the point who got the job, if taken a truly great Maestro under the magnifying glass; none of them resembles the other... There's never (and never will be) a universal recipe how to be a good conductor, and even the greatest maestros have orchestra members in front of them, who will never like them. It's not about beating time, it's not about being an eloquent charismatic generalissimo leading them to the battle.

But after all; isn't it fun to have so many flavours? Imagine a world with a uniform time beating robot... Let's give room to all the available variety. And what a joy to realise that the composing conductor Gustav Mahler himself is unleashing such interesting discussions.

regards
MS

Some links:
Slipped disc
New York Times
Abu Bratsche
Sticks and drones

Opera blues

It's in the news already: while having heard the first rumours from insiders a while ago, last Thursday the first server informed the public about the resignation of the renowned Ms Gabriela Beňačková as the director of the Bratislava's State Opera. Hardly half a year in function (only!), this move - which was foreseeable - is another blow; not only for the Opera's existence, but is sadly enough proving the fact that management is out of control. Or maybe is in fact in control to pursue its own directionless course and thus disregarding the interests of an opera to be met.

What is most disappointing about the whole matter, is that Ms Beňačková is the third director to in a row leave within a year - she has the sad record of even less than half a year. How can it be explained, that an institution like a state owned opera experiences such frequent re-shuffles, while none of the directors have managed to extablish a clear strategic vision to lead such an organisation. Especially the dubious record of Oliver Dohnányi, who initiated first the death blow programme to the Symphony Orchestra of the Slovak Radio, has left another organisation unmanaged again when Ms Beňačková stepped in.

Her coming seemed a turning point. Her internationally gained experiences would be the necessary tools to uplift the Opera's future. It soon turned out ot be mere wishful thinking. In her interviews, Ms Beňačková kept on stressing her international fame. She had great concepts in her mind, without hinting at any possible direction, soon to be revealed... Ms Beňačková forgot to realise, that she was not hired to repeatedly reminding us her stardom, only to be going into depths of her irrelevant anecdotes. She behaved like a diva, and like a diva only. Her so proudly hinted great plans and visions have however remained only in her head, never to come out; without any consultation with relevant people around her at all, without working anything out. And we were hoping to hear a manager speak.

Her resignation is shrouded (again) in mistifying secrecy: She refused to tell the public the reason for her decision. That the job was difficult to do was obvious. An institution needs a director for at least a year or four to get on track - where the new manager would need first to get the feel of the organisation and fathom all its issues, a path which takes at least a year or two to accomplish. An institution in turmoil even the more. Now another director has prematurely left the ship, only to pout about the fact that she felt a hostile team around her. Being a responsible manager is a bit of a different job than being a celebrated opera star. I am afraid, Ms Beňačková has, despite her always self-proclaimed experience, deeply grossly underestimated this role.

The lack of any possible transparency within the management of the State Opera has met with much criticism - in and oustide the Opera, which for a great part can equally be attributed to the general director, Ms Hroncová herself, who has still the final responsibility for these management-quirks. Frequent interviews were only to be answered with empty phrases, even only in writing(!), where either Ms Hroncová and Ms Beňačková would only answer those questions that suited them, cleverly evading the unpleasant ones. The cherry on the cake was, that even the spokesperson of the Opera, when asked by journalists, refused to give a reaction on Ms Beňačková resignation. The fact that the "focus was on the premiere of Gluck's Orfeo and Eurydice", the lady wasn't able to answer (you will ask yourself; is a spokesperson paid to give management-related information to the public, or to stick posters on billboards or even sing the leading part in the premiere-to-come?! Perhaps my job-description of a spokesperson is outdated already, but this fact really makes your jaw drop from disbelieve).

Unfortunately, it proves even the more two things: Old corrupt practices are still very influential - a success from the communist era, but second, in a society that has still somehow moved further in time, these practises are becoming self-destructive. The question is; when and who will finally break through this sad circle of wasting chances and resources? I have the feeling that Slovakia should perhaps be deeply ashamed by this.

MS

Financial crisis' doom scenarios

Each day, we get mixed reports on the current financial crisis. Though with frequent intervals, the major world's stock markets close with a plus, to be followed by another day in the minus. A roller coaster ride it is. As economy is not only a matter of money, it is mostly (if not: always) lead by... emotions. The major given for investors to decide whether to invest or to pull out is their trust in the business. A slight hiccup and a profitable business can turn bankrupt almost overnight.

As the news on the crisis goes on, the first waves of redundancies were detected, alas. Economical analysts give their views - sometimes totally contradictory - making them mere fortune-tellers looking at their magic crystal, adding oil on the fire of the said people's emotions.

In such a scenario, we tend to become cautious; keep our purse closed. Not just in the individual households, but also fundraising and sponsoring is visibly affected. Music and arts in general are as if squeezed out even more than before. A logical consequence? Perhaps not: We all know how in 1945 Europe lay in ruins. People's first priority was to survive. Living among rubble, not knowing where to get food to make it to the next day. And yet, in those times it was e.g. that the Salzburg Festspiele was reboosted. The post-war era was the time, where our present-day big-and-famous orchestras were (trans)formed into beacons of fame and wealth.

Fortunately, we are not living in ruins in Europe at this moment, we are just panicky, because financial institution greedily were selling their credits in order to earn their bonusses, found out that in their greed they have uncontrollably created a soap-bubble which has burst now. We will get out of it - in fact, it's their problem to solve it. In the meantime, let us remember what new opportunities were launched just after 1945. Let's try to give arts a new accelleration again. We did it before, and why shouldn't it work now. It's all a matter of emotions.

MS

Culture in crisis (II)

The news goes on - stocks exchanges all over the world go up-and-down. A roller-coaster ride so to speak, which is definitively not a pleasant one (especially for those at the bottom of the ladder).

What intrigues me is this; when I apply for a mortgage or a credit, my bank is poking into my private life, trying to find out every single detail, to assure them that I will be able to pay them back (plus all the extra fees, interest rates and all). I have to meet certain criteria - what assurance is it that I have a contract now, while my boss can get bankrupt by next week anyway? - well, so be it.

When we apply for a concert project to the Ministry of Culture (government)!), we need to prepare the most irrelevant paper work and requirements (even submit proof of insurance of the individual musicians). Yet what we get is sometimes just small fraction of the needed budget.

Now the banks are in trouble; but governments pump in billions of Euros - and against what assurance? None? So bank-managers are at least able to get their millions in bonuses paid. Great; what a relief!!! I was already getting worried that they were not able to afford their Bahama Christmas this year.

Aren't we becoming a part of a bizarre Kafka plot? So far one good thing has happened - Last month, the Culture Ministry increased the own contribution from 5% to 15%, giving several ensembles a death-blow. Last Friday, due to this crisis, the Ministry has decided to reverse this decision. Whether the remaining projects would still be feasible is still to be seen.

MS

What is the last drop?

Readers of my blog have noticed my regular reports on the slow liquidation process of the Symphony Orchestra of the Slovak Radio (SOSR). And although I am by nature quite a positive person, ready to take up any challenge, the analysis was quite pessimistic ... unfortunately as I must admit. Nevertheless, the story doesn't end here. Slovakia - as a cultural platform is small, and Bratislava therefore even smaller. The trend of the SOSR is not exclusively confined within its walls - it is equally found in other institutions like the Slovak Philharmonic as well as the National Opera.

Why should we bother? All these institutions are public ones: By law, such institutions are obliged to give public access to their decision-making, their financial health, etc. In reality? As a tax-payer, who is interested in e.g. the sudden sacking of person A or B, I am not able to get in touch with any person of the administration, let alone the management responsible. If all would go smoothly, I would hardly bother... the fact that things are far from smooth, it causes not just simple frowning. And many around me agree. We are not just talking of petty, trivial mishaps; the news that comes out from these institutions from first hand sources (insiders) is indeed very alarming. Neither of the said organisations is being managed with a vision. It's lacking strategy and yet vast streams of money (my tax money!) is thrown into a deep pit.

To a certain degree, I could understand if in emergency cases one hires an befriended colleague - also that this could cause some nasty remarks from other colleagues. Yet if it is shrouded in mystery, and everybody refuses to explain and continuously trespasses laws and regulations - then it is becoming obviously very fishy.

Would the responsible Ministry not intervene in such a situation? Ah yes, it should but it doesn't. Lately a Ministry official stated, that Bratislava's Musica Aeterna baroque ensemble is not to receive money for a project, since the Ministry is "already spending much for early music... " But where then? To the Philharmony. For years we already accept in the West the knowledge that early music is not to be played like a bombastic Richard Wagner performance (no offense to Wagner intended). Yet, the Ministry's point of view is that the Philharmonic should perform Baroque music. Like the Health Ministry will abolish Orthopedic departments and, when breaking a leg, would advise you to visit a Cardiologist who - according to them - is equally qualified to help you.

Not only the Ministry thus proves herewith to have completely incompetent decision makers (not understanding their own field of responsibility, for how credible is one with such a point of view), the incompetence of the managements of the aforementioned institutions - despite of trespassing the national laws by their arrogance of refusing to react to repeated appellations of the public to give account of their behaviour adds up to the growing disbelief on the current developments. How far should this continue? Till all orchestras are completely dissolved and forgotten? The Slovaks, instead of treasuring their talent, turn away. Don't care. The talented ones disappear abroad and what can Slovakia still truly be proud of to show off to the world? Favouritism, mediocrity and ignorance seem to rule.

MS

Historic lessons...

Driving my car to the city centre, while the sun is rising and the morning-dew is still lingering on the vineyards on the mountain slopes. The gorgeous almost idyllic sight is not the only thing that makes me feel good. I am listening to the radio, I hear the news that Barack Obama has won the elections. A historic moment, which I definitively welcome with a big sigh of relief.

Why is this event, for a culture-person as I am, of any significance? It's not just thinking of being a global cosmopolitan world citizen. There's a bit more to it:

First of all, it is the awe, to witness that a nation, which has known segregation still back in the 1960s (remember reverend Martin Luther King?) has had the courage to vote en masse for a coloured politician to become its president. This fact should definitively not be overlooked. While Hillary Clinton, as women-politician, was not able to make it to receive her nomination as persidential candidate, Barack Obama made it to the very end. And I must admit, fearing that perhaps old prejudices or political apathy would prevail at th every last moment during the elections, I was a bit surprised. The bottom line was; the people want change. It was still a change against a failing republican Bush administration, but a change that overcame those very prejudices and apathy to vote. This was not "too close to call" as in the unfortunate and dubious election results of 2000, this was a massive landslide victory!

Why it made my day, this very morning while driving to town? Well, although America has lost its glamour for me a long time ago, it still maintains a considerable influence in world happenings. And many do see it as an example. Going back into history, the pride of this nation lies concentrated in its Declaration of Independence. How unique it may seem, it was a rough copy of the Seven United Provinces of the Netherlands, who declared itself separated in 1581 from the tirannical rule of their Spanish monarch Philips II. The conclusion was, that if a ruler abused his power, the people were having the right (if not being their duty) to leave his rule. And thus it happened in 1776 as well, as the American colonies severed all political ties from the British motherland. And the patriotic Americans recite this Declaration of Independence by heart ... with pride.

You might ask yourself by now: what is he talking about on this culture blog, so back to my business: as cultural institutions sigh and moan under the hanging sword of Damocles - because of governments not wanting to support, and many feel the threat of being abolished - why staying then so passive? We have a job, if not a profession (in an art gallery, orchestra, museum,...) and it is a contribution to the society as a whole. If we feel that we're not able to breathe any longer because of dried-up funding, why not get out of the lamenting-mood and vigorously lobby to convince politics of our right to exist? After all, it is our money they subsist on. We elected them, we pay them. If we want a change, then we have the right to say so. It is us that are the initiators of change, and perhaps not the politicians after all.

MS

Culture in crisis

For a considerable time, we are witnessing some panic in the financial sector, which has slowly but steadily spread its tentacles to other fields. Starting in the US - the land of the free entrepreneurial spirit - one could argue that it has the rest of the world in its grip. True, here and there we see the stock markets ending in the plus range, but it is still a brittle situation.

Why writing about the financial crisis, when my biggest chunk of work is related to music and culture? Not just because culture needs money as well (as does everything in life). For decades, we have discussions on financing culture, and especially; who has the responsibility for culture?

Culture is, generally speaking, an aspect of society. We can look at it from an angle where national, traditional, therefore a part of our own identity. When approaching it from the point of view that it is a mere luxurious form of entertainment, it appears to be perhaps obsolete. Whichever way we take it; the society itself as a group is involved some way or another.

Society has gone a long way of evolution; starting at a tribe-level, most people still had to be multi-functional in order to survive as a group. In more complex societies - as is ours nowadays - most of us have specialised functions: With a few exceptions, we all have just one job and have delegated other services to others.

While we have ever since the Middle Ages delegated activities like keeping order (police), protecting against an enemy (army), ruling (politicians), the trend since the industrial revolution has become such, that we would preferably move away from state intervention (Laissez-faire). We have slowly made acquaintance with words like "Corporate Social Responsibility" and even "Corporate Cultural Responsibility," where enterprises slowly begun financially supporting hospitals, welfare programs or sponsor orchestras. Indeed a true sign of less State and more enterprises in our every day life.
Interestingly enough, the Bush administration, as a staunch supporter (if not the most staunchest ever) of free entrepreneurship and withdrawal of government involvement into economics, has suddenly pumped in billions and billions of dollars in order to save banks from collapsing.

Is this thus an implicit sign, that free economics has exceeded its borders (again: starting at the very centre of free market economy - Wall Street) proving that it was just a huge bubble, and where suddenly we became alarmingly aware of the fact (including the Bush administration), that government (state) is still the main responsible for society?

The main question in my mind, and I would very much appreciate to receive your comments on who do you think is in fact ultimately responsible for maintaining culture as an integral part of society: Politics or Companies?

MS

The Bratislava Academy of Performing Arts

Bratislava, laying at the banks of the Danube - not so blue anymore, as during the days of Waltz king Johann Strauss - has a unique position. Not merely speaking in the geographical sense. It used to be a city, that has endured during the centuries many different influences, as can be seen from the different names the city bore, from Celtic times, Roman occupation, the Great Moravian Empire, Hungarian rule, Austro-Hungarian era resulting finally in the capital of Slovakia, be it under the Czechoslovak independence in 1918, later the independent Slovak Republic in 1993. Historically speaking definitively an interesting place to be.

Culturally, it goes without saying, that Bratislava therefore contains an interesting mix of traditions that rushed through its veins. Yet this richness, is somehow muffled below a drab surface of prejudices and a streak of passive defeatism. But - for crying out loud - why??? While we put spotlights on European cities, having internationally renowned festivals or grand exhibitions, Bratislava seems just to have a slight hiccup once a while, immediately go into hiding, as if hoping to again disappearing into deep oblivion.

When regularly talking to fellow musicians, there is almost always this dreadful resignation in them. Interestingly enough, almost all of them seem to have a similar feeling and what is most amazing, knowing fairly well where the greatest challenges are - at least most of problems. Yet, where is the darned blocking discrepancy between the generally felt sentiments and the so much needed change forward?

Partly, there is definitively a historical legacy there; during cold-war era, culture was readily used by the communist rulers in Prague, to keep the masses lulled into their proletariat happiness. At least they learned a lot from the Roman emperors. Bratislava was, however, in this scenario the "provincial little brother". Maybe the Slovak Philharmonic was felt to be slightly second rated to the Czech Philharmonic. This politically directed cultural balance was causing a certain lingering resentment, especially after the turnover of power, and finally full independence.

The other reason, and far more dramatic than the former, is that - and again - the former regimes have created a mentality and with it a certain standard, which was surely detached from the general trend in classical music in the outside world. Artistic excellence was not most important, it was your loyalty to the party which would guarantee your career, being able to perform outside, go to prestigious events...

The old structure still lingers here. Some time ago, a befriended violinist, was lamenting over a glass of beer about the fact, that though he graduated from the Academy of Performing Arts (in Bratislava) under the so-called finest teacher, he was always being turned down when applying for a job abroad. And that's exactly what keeps him barred off. Slovakia's culture rulers, managers and teachers have created a fairly backward status quo (yes they are aware that there are those around, who are better - but it a scary experience) , which is not only a trap for themselves but also for whole generations to come.

Aren't there any positive trends? In fact, there are of course enough people with enthusiastic ideas and talents. But it is very hard for them, to push through the needed changes. There's is this barrier of not letting them into the established old circle. With a incidental exception. For the rest, there is a strong clique, who directly on indirectly devastating the classical music scene.

What could have been perhaps a beacon in the storm, where the last hopes would find refuge, is the Academy of Performing Arts. Fostering and nurturing new talents, guarding quality, investing in thorough music know-how. Instead, as the governments funds seem to dry up, the best quality is being skimmed off first, leaving a mediocre layer of bureaucratic musicians, who treat music perhaps more like a dusty and boring academic matter instead of a form of excellent artistic treasure. Music students are generally speaking

Yes dear friend, still sulking over your beer; the fact that you play like you were taught, makes you, sad to say, a priori uninteresting to foreign orchestras outside. Your Academy's record will be only used against you, but if, at least, you do not show more interest in better standards, it will, how unfortunate, definitively not lead you anywhere. He lacks - just as the majority - a birdeye's view and a (self)critical consciousness, and does therefore not fully realise his deficiency. (Brought up as in a pseudo-Russian way, as if being another Oistrakh - almost cocky in his playing, convinced of his infallible skill). A sad result of being a product of the old school. As if still living in a time-capsule. The world around him has moved in the meantime.

This is just an individual experience of one musician, and there are many many more. One would wish, that the Academy would show more vision and a stout standing. The current management style of "utmost seclusion" will have catastrophic ramifications. Most possibly. But the signs are there, that this Academy of Performing Arts will eventually become the downfall for the eager musicians. Both generally speaking, as well as for specialised fields, which are highly demanded outside Slovakia's borders.

It is a sad observation, which I see everytime when sitting together with musicians. The change must come from within. The present structures will not lead them. Too many interests involved.
A reason the more, to start right away.

MS

Challenges, challenges,...

In order to summarise a few challenges that I see around us, I will ask a few questions (based on real cases):

• Imagine you have a specialised band of musicians (let's say, baroque music) and you are negotiating a concert-project. A colleague finds out, and offers a similar performance for half the price. Calls a number of players to quickly form an ensemble, who have not always sufficient skills to perform baroque music. The quality offered is below standard, unfinished,... Obviously, with a lesser budget negotiated, a couple of players, who are hoping to earn an extra buck with this gig, will not receive a single penny, with excuses that e.g. the organiser/subsidy has not yet paid (the truth is, it is either paid long time ago and perhaps used up already or paid only the negotiated half... but who will find out anyway?).
  The question is; is this ethical? Perhaps, one would argue, that this is the principle of the free market economy - if you offer a 'competitive' (=lower) price, then you will be ahead of your competitor... provided, you compare apples and apples. A dumping price, for inferior quality is easy to offer. To do so is - in my eyes, to say the least - very very questionable, and is a hazard to quality. Value for money becomes an empty phrase.
  

• Management of a Performing Arts Academy has to make a financial decision. As every organisation, management faces the challenge to maximise the budget. You have to decide what department to keep running, which to close down, whom to hire, and... whom to fire. Perhaps it is very human, to see to it that your closest friend stays on board. So another person should go. When seeing - strangely enough! - qualitatively good teachers having to leave, and believe me; sometimes for very vague reasons, it makes one wonder.
  The question there is: management is, of course, responsible for good governance. Meaning on the one hand, financially an institute should be running smoothly. On the other, the institute has an objective. To define this objective, it needs a strategic vision, and also to understand the value of the objective (to create an environment of keeping alive (to conserve - hence the word "conservatoire"/"conservatory") a valuable given. In this case be it e.g. music. If a choice needs to be made, should not a management be conscientiously responsible for choosing quality as a long term investment, rather than keeping sometimes mediocre friends in place (this, if I am not mistaken, is called 'nepotism'). A case of mismanagement then. A function in management has its repercussions and repsonisbilities. You are accountable.
  

Pursuant to the previous point, I would like to pinpoint at a scary trend in Slovakia: For historic reasons - and one must understand this background a bit - there was a long forced artistic tradition prevailing here. During the years of totalitarianism, young artists - as long as politically approved - were sent to Moscow or Leningrad. The great Soviet master was also artistically dictating what was culturally acceptable. Of course, when having a pool of a few million potential artists, you can work out an impressive result. The music tradition became a circus; acrobatics - faster - higher... In a small satellite country, the choice is a bit more limited, yet creating a circle of a "selected few". The artistic quality was not always the main reason to belong to it (a contraire). If you meet a more talented colleague, either you are eager to learn from him, or you feel threatened and shield him off.

As long as the old school is still in charge, culture is in danger. It is not only a matter of ethics, but also of managerial responsibility, that changes for the better are an imperative.

Just to conclude this article by reporting, that confirmed rumours already circulate, that the Symphony Orchestra of the Slovak Radio (SOSR) will be completely dismantled by January. Imagine; the oldest professional orchestra (even established before teh Slovak Philharmonic) will cease to exist. Why? Because of selfish, self-centered interests of the general manager, and amateurish shadow-boxing of conductors Dohnanyi and Košík. It is sad news. And you pray that an unexpected miracle will happen. Here it becomes apparent, how mismanagement expressly shields off advice (there's enough good advice around) and gradually brings an orchestra to a slow and suffocating end. A sad week it was.

MS

A Night at the Opera

A friend of mine convinced me - despite my crammed schedule - to attend an opera performance. Not that my previous posting caused it. I owed it to him. The night, where I was free, scheduled Madama Butterfly, and definitively a must for music lovers. So,... no excuses; yes, I went.

Interestingly enough, the opera was still rehearsed under the previous maestro Dohnanyi, but presently conducted by Pavol Selecký. A reason the more to attend this performance. Alarmingly, I was counting the number of empty seats in the auditorium. Oops... half full.

As a musician (conductor) myself, one has a slight - and bad(!)- tendency to compare things to one's own technical liking (performance), noticing those technical details of the orchestra and singers, and have a rather critical approach. Admittedly, as the overture was behind us, and the singers came on stage, I slowly let loose the critical scrutiny and decided to have a relaxed evening.

The quality of (young) singers surprised me, as I have frequently encountered vocalists here, who still could do with extra language classes, as their Italian or even English or German was incomprehensible, or using an over-extensive vibrato to "pretend" dramatization (or is it to camouflage their intonation flaws?). Whichever way, this was turning out a good performance after all. The roles of Cio-Cio San (as sung by Jana Doležílková) and Pinkerton (Peter Berger) were impressive. Nevertheless, when knowing the whole story, when feeling moved again by the combination of music and plot, it is a worthwhile show. And all viola-jokes aside: The viola solo by the young excellent violist Tamás Cseh during the "humming chorus" was a feast for the soul and ear. Only one big minus.... although I am not always a big fan of modernist approaches, like looking at Nozze di Figaro in a 20th century penthouse in New York setting, the modern, minimalist props were fairly acceptable.. Except when the Japanese characters arrived,.... their costumes were... typically Chinese! Ouch!

It became apparent that the Bratislava SND (State Theatre) is quality-wise a good orchestra - maybe I could say, in better shape than the Radio Symphony or the Filharmonic. During the break, when spotting the audience in the foyer, I noticed that a considerable portion was foreign; Danes, Austrians (coming all the way from Vienna?) and British. Hopefully, the comming years under Gabriela Beňačková will finally make this institution keep a grip on its developments (and I mean developments in the upward direction). Ms Beňačková's role is not easy, but Bratislava deserves an opera, and an opera like this deserves a future. And more people in the audience.

MS

Doing too much (at the same time)

The Bratislava State National Theater SND, has a new director. At first glance, not an unusual headline. What makes one frown, is the fact, that this is the 3rd director in 3 seasons (!). Even more surprising is the choice this time: ... the renowned soprano Gabriela Beňačková.

Not that one would not wish Ms Beňačková this honour, there is more that makes one raise the eyebrows. It seems that the general director Silvia Hroncová seems to enjoy experimenting. During her reign, the SND replaced its directors every year. First it was Peter Mikuláš (9 months only), then Oliver Dohnányi (1 season, simultaneously conducting the Opera) and now it's Ms Beňačková's turn.

What makes me weary, is foremost Mr Dohnanyi's role. Not only initiated he the devastating turmoil in the Slovak Radio Symphony Orchestra - then suddenly resigning to move to the Opera, leaving a chaos behind (now in charge of an even less competent successor). During his directorship at the SND, he gave higher priorities to conduct abroad, instead of sitting down to strategically plan, making real and sound management decision. If you want to conduct, don't accept other tasks, if you have other tasks, don't focus on conducting. The result: His role is again unfinished - or not even started, again leaving a rudderless ship behind.

Now, Ms Beňačková has to take over. Not a fact to envy. Despite of her world fame, Ms Beňačková has absolutely no management experience. So why is Ms Hroncová again putting in a facade by using a celebrity, predictably just to have her replaced within a foreseeable time-frame. The repeated chaos of what Mr Dohnanyi left behind will presumably become Ms Beňačková's pitfall. Why can Ms Hroncová continue in these senseless experiments of her wheel-of-fortune-style management? And most important of all: because of the status the theater is in - no capable manager is really interested anylonger to burn his/her fingers on this precarious chore. It is again a sad chapter in Slovak cultural life; to see another prestigious institution crumble.

MS

A recent success story... (yes, in arts!)

Last Monday (1st September), we headed for the City of Olomouc (Czech Republic), to attend an opening of the new building of the Church Conservatory - formerly situated in Kroměříž, but now relocated to Olomouc. An old building, with early renaissance interior, a baroque facade, beautiful court-yard and an appealing park with tall green trees at the back. For the past years, a multi-million reconstruction project took place, with an amazing result, from an old building, to construction rubble (looked more like a ruin at some stage) until final outcome: keeping both the historic atmosphere of the building intact, while adding modern comfort as well.

The opening concert, where the Olomouc Philharmonic Orchestra performed started the evening, while afterwards the guests took a promenade of a few minutes to the new Conservatory, where a solemn fanfare welcomed the guests of honour; the chairman of Parliament, the local officials and other personalities, who have contributed to the realisation of the project. Then the usual receptoin of tantalising sushis (not quite typical for the region, but obviously still enjoyable), salads, amuse-gueles,...

Amazing, that despite all the stories of decline of culture, once again, one can see wonderful results. Results, which do not arrive as a bolt from the blue, but are the work of endless lobbying and tireless finding the right people, who do care.

The director (and composer), František Fiala, deserves a big salute and applause for his relentless work, in which he has achieved all this. He is an example of those, who do not give up, who do not let their head down, despite of all the news and trends. He cares about music and when being inspired to work for a cause, one can get there.

MS

more info on www.ckonz.cz

Music at dump prices!

Some time ago, my colleague Christian Henner-Fehr concluded one of his blogs (for readers, who are interested and able to read German, here is the link) with the painful words: "musicians ending up financing their own projects". Obviously, for a long time we are analysing and digging into the daily question how culture is being financed, and the harsh reality in our modern world.

Today over lunch in a Bratislava restaurant, I had somewhat a unusual discussion about a project, which is currently taking place in a recording studio, and which illustrates the wicked vicious circle in which musicians are trapped,... but at the same time, are unpurposely actively collaborating to keep it alive.

A fairly prominent musician (let's call him "M" - not James Bond's supervisor, not is it the author of this article) is hiring people for an orchestra gig. Not very unusual. Indeed. Whether a concert series or a recording session of a few days. All arranged. Until you see the contract, where, besides the usual fee, the musicians are agreeing that payment of the due fees will be effectuated after the end-customer (concert organiser, cd-producer) has paid. There's the little trap.

Money has to be generated somewhere, obviously. The mysterious part is, that somehow the money ... never gets paid. There are musicians, who are still waiting after more than a year for their fee. Usually, if a customer does not pay, you would tend to decline the next time. Yet "M" manages time and time again, to engage the same (victimised) musicians over and over again. Why? Perhaps, believing that this time it will be paid. Anyway, sitting at home and not playing isn't going to earn them anything either. They're too good hearted. And that's becoming their own trap.

Professional musicians are indeed becoming real amateurs: playing for mere fun, without seeing a cent for their job. And sadly enough; these are excellent players. But who will pay for their rent, groceries...??? Mr "M" this is highway robbery of your own kind.

I would like to add, that there are a few very reliable festival organisers too, but these are an exception. For the rest, it's really music at dump prices. And nobody seems to care.

MS

Culture unattractive?

A week ago, I visited a colleague (and a friend) of mine in Bechyne, in the Czech Republic. No, he is not living there, neither was it his camping-vacation. Being a musician (conductor), he organises for 18 years a kind of summer-music-school in a picturesque surrounding of this South Bohemian town.

What is remarkable, is that the vast majority of his "students" are non-professional musicians. People, who in their daily life are doctors, teachers, technical engineers, ... you name it. Even some music students add up to the mix. And once a year, they retreat for a few weeks to Bechyne and follow classes in chamber music, orchestra playing respectively choir singing, rehearsals and in the end give concerts, not only in Bechyne or surrounding, but after coming back, in the Netherlands as well. Not just one, but in all three different groups (A Vienna classics, Orchestra and chamber music from the romantic era and authentic 415-Hertz baroque).

It is remarkable, in a time, where we read the news that even a prominent Ton Koopman and his Amsterdam Baroque Orchestra will get absolutely no more subsidy from the Dutch Performing Arts Foundation (yes, not a single penny), that Maestro Horringa, is mobilising 3 groups for an intensive music experience (be aware, that participants pay for this happening from their own pocket). The local population of Bechyne is visiting these concerts, as there's hardly anything left, while the local hotel has additional guests in its restaurant. In all, it generally stimulates society in more than one ways.

And still to think that music and culture are unattractive burdens to society??? Apparently not. Mayors and other institutions, who would be able to actively contribute, could bear in mind, that their involvement could add up to their prestige, perhaps.

MS

PS - With thanks to my colleague Dirkjan Horringa and his superb project. La Pellegrina. More info you can find on this site.

Fame through excellence...

Many (music) students spend many many hours practising, hoping to achieve an excellence good enough for fame. At face value, a logical approach one would say. Looking around these days, on this supposedly excellence in quality, one really wonders, how certain people ever got there. Mostly as a result of clever marketing, ... just marketing.

Some years ago, I was having similar discussions on marketing of music. Perhaps, most of my readers are familiar with e.g. André Rieu. A Dutch violinist, who for several years travels around the world with his orchestra, performing Johann Strauß style concerts for huge crowds, with sugar sweet entourage costumes and you name it. His popularity is undisputed. At least the crowds are there, his numerous fans are enthusiastic. But is this really quality, which enjoys so much popularity. we tend to mistake that being successful is therefore being quality-wise good. Giving a show all the effective lights, sound-equipment (wonder why Maestro Rieu is not able to perform 'unplugged'), a romantic costume-closet and well-directed top of the notch camera-work is a good ingredient for popularity. Popularity of the masses.

Admittedly, André Rieu has a very good sense for business. Good PR. Good commerce. His income is at least six or seven figures. Nevertheless, his performances in the artistic sense and quality excellence is highly debatable. In addition, an often heard argument that his "commercial approach" has introduced many people to classical music. I highly doubt, that the crowds who have visited his spectacles or buying his CDs are suddenly fervent listeners of Haydn, Händel or Shostakovich. Like André Rieu, there are also many others.

We need to clearly see a divide between what is good marketing and what is quality-wise admissable in music performance. Trying to sell (more) classical music is definitively a good objective; to make it pallatable for broader masses (therefore more profitable) is a dangerous area, which should be dealt with very carefully else we create just big Kitsch, keeping the artistic value of music intact. Here, not everything is automatically acceptable. Therefore: Fame is not necessarily equal to quality.

MS

Saving money....

As far as economy is concerned, or when doing business, it is your aim to generate money. Not only to cover your expenses of course, but, ideally, to make some profit too. Whether you will buy yourself a bottle of Champagne from this profit, or invest in your business is then up to you. In other words, people will regard you being a good treasurer, if at the end of the day, more money is remaining. In some cases, thrifty bookkeepers start making it their goal in life, to cut on costs as much as possible.

In earlier discussions - and when discussing art management professionally with clients - I highlight the notion, that cost allocation within cultural projects with very limited resources (or rather; no money available) is perhaps indeed a very day-to-day challenge, but most of all which should never allow us to become defeatist. Many musicians, however, are.

A couple of days ago, while driving home, a spokesman of an ambulance service was complaining about so many drownings happening over the summer-holidays. As the main reason, he mentioned the fact, that due to financial constraints, elementary schools had to cancel compulsory swimming lessons (as a part of physical exercise class). Politicians, who pursue very short-term vision, and keep on wrongly allocating the necessary funds, end up with a long-term problem for the community. Unfortunately, this example is of a very tragic kind.

In a country, that has one of the highest economic growths in the EU, such a financial short-cutting on the very basic thing like schools, is inexcusable! The truth is, that a lot of money is wasted on useless activities, or in the worst case; disappearing in someone's pocket.

The same happens to culture as well; Yes, you get little money, yes it has been like this for years. No, you should not accept this as being just a "reality". While in some countries, writers with a certain sense of social responsibility, appeal to politicians, why should not musicians be equally active to hold a mirror in front of society (and their leaders)? This is not just about saving money anymore - this is about drowning culture; drowning your job. Rescue it, while you still can!

MS

Second EFA-Publication “Give, get or Get Off!”; Challenges of cultural networkign today

Throughout history, culture changed its importance within society depending on howmuch value the ruling class – or a sole ruler – would attach to it. Emperors and kings boasted with architectural palaces and court music without a limit. Moving the music scene out of the palaces of royalties or the aristocracy, a situation by the end of the 19^th century, has given music bit by bit a different place in society, unfortunately… losing its prominence.

After the fall of communism, the world has changed – not just politically speaking, but especially in the economic sense. Partly, because of the political barriers were removed, but foremost also by the growing presence of computer technology and internet entering our homes. Right after the fall of the Iron Curtain, Central and Eastern Europe were - for music - a “goldmine” for record labels to reap profits thanks to quick and cheap money recordings and indeed the sky seemed the limit. Not for long.

Ever since the decline of the recording industry – even some tend to deny such, but let’s face it, music industry seems to be in a deep ditch, from which apparentlt there’s almost no way out. And interestingly enough, despite an economical level never attained before in world’s history (technological advance, wealth), music is generally speaking in a deplorable state.

Two publications from the European Festivals Association are addressing the issues, which have arisen from this situation. While the first one (“Still a lot to be done”) deals with a broader discussion on how to address the more general cultural music discussion – filosofically, politically – the second publication (“Give, Get or Get Off!”) is discussing the cultural networking of today. In other words, when music is in despair, seemingly being regarded as elitist – and therefore become more and more detached from a (potential) audience, almost having the feeling as if classical music is no longer bon-ton – how music institutions should be working on their network expansion and thus be able together to “sell” again their product: Music.

The articles, written by various members of the association, are accessible and clear to read. As both a musician and an arts manager in Slovakia, the 2^nd book is interestingly enough tackling matters, that should appeal to my direct colleagues in Slovakia, but not exclusively. We must face the reality that the old structures no longer work (that is, where culture is directed from above, endowed by a wealthy aristocrat). We must realise that among ourselves that we should work on solid and efficient networks (co-operation) and therefore creating culture from the bottom. The book systematically analyses some feasible network constellations and possible variants, but underlining some basic requirements, which should be met, in order to be a successful network. Obvisously, the main problem lies in the fact, that while music should be more actively promoted, musicians are not trained to be business-like salespeople or be economically or managerially skilled. In the event, where they have the luxury of being able to afford (expensive) professional PR and marketing people, these are not always muscially oriented, therefore a gap between player and manager.

Also, among professional musicians themselves there are many misconceptions against branding, PR, modern-life’s dynamics and technology, which as a fact, is to be blamed on the old-fashioned (music) education system. Concurrently, also the public is regarding classical music completely biased. The necessity for a strong network is unmistakenly clear; to re-educate both the musicians as well as the audiences. From the effectivity of a network, a viable economic basis to function, fostering co-operations (nationwide and abroad), up to the application of real and virtual network projects; it gives a good direction of what we most of the time are lacking. Especially in Slovakia.

We may remain wailing in the repeating argumentation of being a small country, with no money, with no interest of the public, but we can also try to do something with it. There are smaller nations, who are far more successful, and after all it’s our job which is in danger if nothing is being done. Instead, let’s actively start doing something to get things moving into a better direction. Slovakia’s music culture and is worth working on it (and equally valid for any other culture, of course), because if we let it snow under our craving for 4x4 jeeps and hypermarkets and fashion-shopping, it might be lost forever. The EFA publications could give a good starting point, to construe together a networking with eachother – and not against each other, as is often the case – to make us visible again as another cultural centre close to Vienna, Budapest and Prague, contributing to the cultural richness of our region… and beyond.

more info on the EFA website here

MS

Outsourcing an orchestra (a light note on modern managment)

Globalisation and modern communication technology has brought our planet more closer together than it was let's say 50 years ago. Modern management (a product from America) is being practised all over the world, whether from Anchorage to Zilina, or Reykjavik to Cape Town. In whichever country you come, all managers seem to think and (re)act the same uniform way. Much to the astonishment to any logical thinking mortal being. Most managers look like clones. Let's look at a fictitious scenario (but yet, perhaps not too detached from present-day reality). Setting: A symphony orchestra in despair - a realistic situation, yes - but here comes the modern, eager, pro-active, assertive, ambitious and shrewd manager. Watch him:

Scene 1 (at an office, some panic is in the air...)
Board-member A: Our financial status is causing some concern (= we're bankrupt)
Board-member B: I'll resign from the Board and you'll hire me as an external consultant and I'll give you a solution.
A: will it help financially?
B: yes, guaranteed

Scene 2 (a week later, same office)
B (now an external consultant): I made an case-study, and the solution is to outsource your orchestra. Just look at the flow-charts. Here's our projected budget. This is the time-frame. All worked out for you.
A: Outsource???? Whaddayamean?!?!?!?!
B: Let me explain... The financial problem is, that your local musicians simply cost you too much money. Not to mention your music directors. Well, the answer is; get cheaper ones.
A: Impossible. We have labour unions, minimal wages, fixed overhead...
B: No, possible: We have labour unions, minimal wages HERE... simply get them some place else.
A: Huh?... where???
B. Doesn't matter. Anywhere. As long as it is not here.
A: But we have to perform concerts HERE, don't we?
B: Dear friend, never noticed how we hold overseas on-line video-conferences? Who cares where people sit nowadays?! All you need is a big screen, satellite connection, and the audience won't notice the difference. They're used to flat screens already!
A: Insane!
B: But cheap, that's what you wanted!
A: We cannot do that!!!
B: I promise you a financial solution which will work!
A: Hmmmm... I don't know...
B: Trust me. All worked out.

Scene 3 (B is having a talk with the Project Manager 1 (Change Management) and Project Manager 2 (Implementation Team) in an office some place abroad)
B: did we find suitable musicians?
Project Manager 1: We lack a few instruments.
B: Never mind, it's good enough. At least we safe more costs.
PM1: But it does not meet the customer's requirements!
B: Who cares - we offer cheap prices so they should be content with that! We'll do with this.
PM2: Could I perhaps note that not all musicians are in fact ... er... musicians... I am afraid they hardly know how to play.
B: So what?! They have an instrument, that will do.
PM1: But the customer will hear the difference.
B: We promised that we would provide an orchestra, not quality sound. If they want quality sound, then they would need to cough up more dough.
PM1: Aren't we getting in trouble? How about the service level agreement to the customer? We cannot meet the quality requirements
B: Don't patronise me with service levels! You know what? You're having a negative attitude which badly affects our team. You're out!


Scene 4 (B meets A to prepare the implementation)
B: We are ready to go live!
A: Is the orchestra ready?
B: Yes, as promised
A: Where is it situated?
B: Not important: we found a suitable and really cheap location. People are eager to work, qualified, ... it's a success-story of the century!
A: Can we see it?
B: Sure!
....
(B is switching and adjusting the screen on the wall)
A: I don't see a thing....
B: That's 'cause perhaps our systems are incompatible
A: ??? Explain please...
B: Well, we deal with different standards of video output and versions of software...
A: But what can I do, to see it them then????
B: I would need extra budget for ITC upgrading...
....

Scene 5 (4 weeks later; B meets A to prepare for implementation - 2nd attempt)
B: Aren't you pleased with the view? (Looking at the screen)
A: Er... I expected to see a symphony orchestra
B: That's a mere technicality - a matter of definition
A: But I thought we will perform the same type of concerts to the public!!!! I fired the whole orchestra and now I have this?!?!?
B: Look - they have instruments, right?
A: ... right, but...
B: So it's an orchestra, which you wanted!
A: But not a symphony orchestra!
B: That's retro! This is the 21st century answer!
A: But you promised an alternative, the same stuff.. and a financial improvement!!!
B: This is an alternative all right. Never talked about the same stuff... just a bit different... And the invoices, which you paid, have improved my finances.
A: I think I am getting a bit unwell... Can they at least play???
B: I guess so.
A: what do you mean by "I guess so"??? Didn't you check???
B: Now hear: We never talked about quality - you wanted cheap replacement, because you were in the red. I got it for ya. That was the deal. They got some mass-produced instrument, so they can make a sound, which is basically equal to music. And what would you expect from these people, for such a low wage, you will not get skilled people.
A: I think I am getting extremely unwell!!!!
B: What for?! You got what you wanted! I gave you a solution. It's cheaper than your old situation.
A: But it's not what we had!!!!
B: That's in the past. You have to live with what you have now. This will be the wonderful future of orchestra problems! A wonderful concept, isn't it? By the way - here's my last invoice....


This was just a kind of humorous narration with a certain undertone. Nevertheless, it is a reflection of what I have witnessed a few times and therefore the undertone is not quite funny. The bottom-line: Management is nowadays a bit overrated. Decisions are sometimes nonsensical, objectives out of scope, requirements of the client completely ignored, only to be focussed on short term profits and prestige. And yet the manager is highly and highly overpaid and acting like an untouchable. Outsourcing is, as I described here - fortunately - not an issue in the music world; but somehow, it wouldn't surprise me, if a wiseguy will suggest such a solution... and some orchestra managers in despair enthusiastically follow such suggestion, only to get rid of the burden then to realise too late, what harm has been done....

Managers, and especially orchestra bosses... in fact: all of us! Let's realise what you are managing and what your management school training and guidelines have made you into. Don't end up like this fictitious scenario. Although it is a mirror of two real life projects, this was rather meant as an entertaining summer-holiday reading (although I wonder, who will recognise his/her situation anyway and feel a bit uneasy...).

regards
MS

A Maestro with a View

Far back in the early 1980, as - being a young student - I was eagerly following music articles on conductors. At that time, a young Italian maestro, being labelled as a promising "prodigy" (still), appeared in some of the magazines. I still remember pictures, of a dark-haired, slim, youngish looking conductor. Television in Europe in those days was not as varied as it is today, and therefore my only knowledge of this young man was only from these articles and of his picture on certain yellow labeled vinyl records.

Only by the time, shortly after Herbert von Karajan had died, and the Berlin Philharmonic orchestra chose unexpectedly an Italian to succeed as the next chief, he became a bit more "visible". The rest is history.

Now, Claudio Abbado, in my view, the very best conductor around, has celebrated his 75th birthday. Despite (or perhaps because of) his leaving the Berliner - one reads about the growing differences between the orchestra and Abbado, yet the Berliner Philharmonic has gained so much from Claudio Abbado after the sterile megalomaniac era of von Karajan. I know from own experience, that a positive success is not always going hand in hand with a lasting co-operation, and ensembles realise too late, what opportunities they have lost by parting. The Berliner has become a more artistically aesthetic group than ever before, Abbado acting differently than his autocratic predecessor. Nevertheless... Also his health has perhaps contributed to becoming a very intellectual conductor, where music is the ultimate centre of the performance and not seeking self-fulfillment like many other conductors tend to do. These factors have made him a Maestro with a big capital M.

If I follow Claudio Abbado's path from his older Mahler recordings to the recent Lucerne Festival performances, the heights which he achieves with the Lucerne Orchestra are astonishing, almost giving me goose-bumps and seeing him conducting is the ultimate reflection on Mahler's message through his music. It manifests true understanding of music, not as a serie of black dots on a piece of paper, but searching the soul of piece. A view, and as it is not only in the case of Mahler, a philosophical view. Even for a Beethoven, Schubert, ... you name it.

Dear Claudio, wishing you still many years in good health, happiness and continuation of your musical success, from which we can learn a lot. Congratulazioni!

regards
MS

Breaking the deafening silence (II)

With reference to my earlier published title (posted on 17 April), I need to make a slight correction, perhaps to clarify the title a bit more. Therefore a kind of "part two". Slightly after I have posted the first blog-entry, I was informed by Peter Breiner, a Slovak composer, conductor, pianist and publicist, living currently in New York, that the clear and critical statement on the Symphony Orchestra of the Slovak Radio (SOSR) by Maestro Peter Feranec was not the only and first critical voice statement.

Dear Peter Breiner, you are absolutely right, and I owe you an apology for that omission. The reason why I (on purpose) labelled my entry as I did, was not so much that apparently nobody has ever published abou it, rather than every time I inquire on SOSR matters, there's suddenly no response, as if my questions regarding the orchestra are being absorbed by a mysterious black hole.

True is, that your articles, as published in the Slovak classical music periodical Hudobný život [Music Life] or any other media, I have not been able to get hold to. (Some articles you find even after 8 years on the web, some other vanish very fast... ). yes, I have read a few references to your articles, yet nobody could provide me copies. Until.... I coincidentally found an old issue of Hudobný život, and lo and behold: an article "From the other world", where you state the same concerns regarding the SOSR.

In order not to forget, I decided to immediately write a correction and explanation to you. Since I jumped into these problematics a bit later than the publication date of yoru article, it somehow missed me. Unfortunately, to find out, that both we hold the same (alarming) view on the orchestra. But when thinking of it, comes to me another question: why the secrecy around us, why does hardly anyone sincerely wants to listen and to act adequately? Perhaps, I have a clue though, which I don't want to say aloud. To quote a famous conductor: it's not good to be superstitious,because it brings bad luck. Your statement (sub-title) that "even Rome lost from the barbarians", is a gloomy prospect. But what you wrote then, and what I see now, almost seems to confirm this expectation. Time will tell, how much the Slovak nation values and perhaps even deserves its culture.

regards
MS

The time is ripe

Discussing issues with people is a way of exchanging views, not just telling your point of view, but also to gain perhaps an unexpected new idea because of your discussion-partner's response, which could help you to adjust or improve your own strategy or effectiveness on the market. If art and culture were not so much forced into a corner, this discussion would not be as lengthy as it is now. So any innovative idea or experience to strengthen or (re-)affirm your work is always welcome. You must once in a while reposition your reference points. to be sure of your position. This time it came from an unexpected corner.

A friend of mine sent me a link to an Czech newspaper article. At first glance, not an unusual thing. It was a letter by the playwright and former president of the Czech Republic Václav Havel. Next to being a playwright Havel is in fact a philosopher, who has often outspoken (critical) opinions on society as a whole. Therefore, still regularly being quoted in the media. What was most pleasant to see, was that this published letter dealt with ... culture and society.

I will not burden you with all the details, as he compares certain trends with his Czechoslovak experience back in the 1960s (when culture was defined by a centralised communist government and an underground dissident movement). What I would like to highlight is the introduction, which immediately catches your attention, at least worth pondering about, which indeed capture the essence of the discussion about culture.

The introduction describes the "battle for survival of (Prague's) theatres, not being a mere battle for millions (funding from the state). It's more. It is a battle about the sense and the character of the nation".

It continues with a summing up of activities, which the state - as a representative of the people - chooses to allocate tax payers' money for purposes, that are not always making sense, nor have a logical well thought through long-term strategic purpose. In the best scenario, government should consider future ramifications of its policy, in other words feel responsible for decisions taken now and how our grand-children could benefit from it as well. A parent, who is in charge of an household, in financial difficult times, is expected to give priority to feed his children first, before thinking of buying himself a stereo-set or another new car. Nowadays governments behave the opposite ways: instead of ensuring that society is prospering with good infra-structure, economic incentives, and even to provide the comfort of access to good health service, education system and culture, it cuts where it can.

We will inevitably suffer as a community - and the loss of culture is, in my view, heavily underestimated by society. The damage faced will take much pain and extra effort to crawl out of that pit. We complain about high pace of life, burnouts, stress, psychological disorders, yet we let ourselves be fully controlled by these trends.
Wasn't it remarkable, that people once used to dress up and take time to go to concerts or operas. A kind of ritual to step out of daily life and let art give you time to relax, to contemplate, and have an enjoyable time.

Those times are really gone? Why? Blaming the "State" for not having the money anylonger, is not quite right. Remember that it was the people, the society who has instituted dedicated authority (municipal, regional, national or supra-national). These authorities (State) should realise, they should serve the people. The people (society) has the right to call the State to give account for their decisions.

Some governments (at least, the decent one's) inform public already about their well-being: change your habit to smoking / eating; it can have negative lasting effects on your health or segregated your waste; it's better for the environment.... When will governments finally realise also the true value of arts and culture; the traditions, the national identity? (of course, without becoming nationalist or xenophobe). Today, its' only about profit, political nepotist interests, and grab what you can. And if people are not content? Both governments but especially societies as well behave as if both live in completely separate worlds. You have shared responsibilities towards each other. Turning away because of disillusioned disinterested will not make a change. Do something! Take responsibility! The time is ripe to start realising this.

regards
MS