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