Unbelievable!

My daughter would call it "a bad hair day"; when daddy is not in the mood, manages to create a bit of stupendous chaos, or says something which is utterly inappropriate and then wants to crawl in the deepest pit. Happens to all of us. As musicians we are, after all, still human. But what I read in the papers, would - in case I would be quoted these opinions - cause me to jump of the highest building in town. Perhaps I was born on a wrong planet, perhaps in a wrong century, but if my memeory serves me right, when we used to study music, or for that matter whatever we did, we tried to keep an eye on quality. Or else...

It was a few days ago in the SME newspaper - culture section, where the Slovak violinist Juraj Čižmarovič gave an interview. (For those able to read Slovak you can find the article here.) Just for your information, Mr Čižmarovič is currently concert master with the Cologne based WDR Fernsehenorchester and is lately taking up the conductor's baton as well. Quite an achievement. Chapeau.

While elaborating on the usual stuff like his youth, parents, studies and achievements, he places a remark, which made my hair raise as if electrocuted with 20 thousand Volts - the least. He was asked on the question of quality (in music). The conclusion was, that quality is determined by consensus and therefore, when (the majority) of the audience like a piece it is therefore quality.

Now that is an interesting statement, when taken out of context might be interpreted a bit, .. well wrongly. I re-read that paragraph a few times; the exact questions, the immediate answers (the journalist seemed surprised as well, and reiterated his question to clarify whether he understood Čižmarovič correctly), and cannot conclude that he meant it that way.

Some time ago, the very same Mr. Čižmarovič came to Bratislava, to perform Vivaldi's Four Seasons. It was a kind of a weak rendition of "Mr. So-and-so and Friends", where - in all honestly - the professionality of Mr Čižmarovič was at stake. The playing was not only outdated (over vibrated, acrobatic show off instead of refined music due to the piece), it was out of tune, full of mistakes, where even a tone-deaf listener would notice mistakes, for the Four Seasons are almost known to everyone.

But putting these two things - the embarrassing performance and the interview - together, gave me suddenly an insight what Mr. Čižmarovič is all about: playing lousy music - but as long as the audience loves it - is quality to you. Perhaps the artist shoudl have a sense to feel responsible to deliver quality to the audience, also to educate the audience to become more appreciative to quality... or am I too naive?

Well, in that case there's little hope for Slovakia's audience. You get medicority as a standard of quality. Even the professional musician seems no longer to be interested in true musical quality. Unbelievable. Perhaps I am having a bad hair-day.

MS

A Spell on the Opera

After the resignation of the controversial General Manager of the Slovak National Opera, the Ministry of Culture has - for the first time - publicly announced a hiring process for the said post. While one would be used to broad publications for similar posts in Amsterdam, London, Los Angeles, Milan or even unconventional places like Singapore or Sydney, Slovakia prefers a hush-hush announcement. Albeit, that those really following the whereabouts of the Opera, were able to get the needed information. Anyhow, the cultural world - or let's say, the Slovak cultural world - was closely following the developments. Last Friday, the long awaited results of the candidate-selection would be finalised, and the eagerly awaited new General Manager would be appointed. 

The formal requirements were a bit of a farce; previous directors either fulfulling the expected preconditions or not, have never been able to fulfill their tasks, and either left on their own chosing, or were bluntly sacked, under mysterious circumstances (where even the official spokesperson would not be able to give comments to the occasions). Nevertheless, a total of seven candidates have come forth to run for this race of the titans. 

Therefore, last Friday was a big day. Another step forward. How more susprising it was, that the current interim manager suddenly withdrew from the race. His reason seems a bit unconvincing in my eyes, but let it be. The shock - or disappointment - was a bit bigger to find, that the commision has not chosen anyone. Leaving the door open for any other possible solution. A solution, which might be politically driven. Left aside, who the candidates were, one cannot wonder, who would still really be interested to hold this post. Either a complete masochist or somebody completely detached from culture.

For a few years I have monitored many public institutions here in Slovakia in their management struggles (or rather their lack of it). One can hardly stop feeling amazed by the events and whichever angle one takes into consideration, such wild-west solutions would be far from acceptable in most Western opera houses. There is much awe and question-marks left. It seems that Bratislava and its Opera have a magic spell. Not to excel, but to be doomed to mediocre level of amateur games of those, who wallow in political intrigues. It would be an interesting scenario on stage, but not behind it. 

MS

Hidden Baroque Music in Poprad

Last week, an international early music project called Central European Music Academy took place in the Slovak city of Poprad, just under the majestic High Tatras mountains. Slovakia's most prominent early music ensemble Musica Aeterna from Bratislava was present. Even some of my acquaintances from abroad would attend. Good news one would say. 

Except from the fact that such a 'prestigious' event had no medial coverage in Slovakia whatsoever. Despite my close connection to early music in general, I was personally shocked to find out of this festival through foreign sources - I reckon, that it was just a slight error for me not being informed of this beforehand. Newspapers wrote a brief article during the festival - where one would expect to publicise in advance in order to attract attention and to point out dynamic activities in the field of early music. But not so. One news item on public television, focussed on the presence of the dance department of Prague's National Theatre, who were performing original baroque choreography to the music of Jean Baptiste Lully. Not one mention of their own Slovak participants. Why?!

What gnaws on my mind is; are Slovaks so embarrassed about themselves, that they purposely eliminate all traces of themselves from such worthwhile activities, such that only foreign prominence gets the sole attention? I have witnessed many early music projects go to waste, because insufficient public interest and most of all lacking interest at the Ministry of Culture level, where they should be eager to support such trends.

The artistic music director of Musica Aeterna, Peter Zajíček was quoted in the said SME newspaper article that baroque music in the West doesn't sound other than in the Historically Informed Performance practice - and implying, that Slovakia seems not to realise this given, continuing to play a 1960s-ish Karajanesque rendition of baroque music as is the case with e.g. Warchal Chamber Orchestra. I totally agree with that statement - but I have to add something to complete the picture; this state is partly also caused by the lack of a structured and professional marketing approach. It is highly underestimated.


Continuing like this, may result in Musica Aeterna to bleed to death within a few years. The foundation of this music quality of Musica Aeterna, which had a profoundly genuine and pure approach to early music thanks to the late Ján Albrecht, will find itself in a dead-end alley. A quality gone to waste. Such that hidden attic performances will be the last sighs of breath. And despite that Poprad's 'music academy' was an interesting highlight, to me it looks like a missed train.

MS

Slovak culture and Web 2.0

While Slovakia has experienced during the decades of totalitarianism political limitations to free information until 1989, for 20 years now it has entered formally the free "western" world, where information is accessible, especially since the introduction of internet and the like. Our world has gradually changed - we became more dynamic, more global, and more technological. IT-technological that is: Our borders have somewhat vanished, and we can nowadays access instantaneously electronic data whether from Anchorage or Auckland.

This would, in theory, give us a grand virtual mobility, where the geographic distances are irrelevant. On the one hand, as we became more computer literate (let's admit it - how many people were 25 years ago knowledgeable about RAM, kbps, IP, UTLs and you name it) we have a rich scala of comparison at our fingertips; in the event I recall a certain title by e.g. Jane Austen, I can google the book and eventually legally download it, or read some background info on it. All within a few minutes. In the old days, I could visit the nearest library, and if the book was taken, I had to wait another couple of weeks perhaps.

Technology has definitively also influenced our connection to arts. Not just Picasso's works can be viewed, music of all sorts is available from our sofas. While in the old days, we savoured unique life concerts, records brought - be it with some quality limitation - music into our homes. Nowadays, we can hear performances from Sydney, Los Angeles, Seoul, or Covent Garden, and compare them with the Concertgebouw, Berliner Philharmoniker, La Scala or the Gewandthaus. But now in full hi-fi quality, digitally remastered. A former manager of a Dutch symphony orchestra once described it as our "Ear-Phone Experience": When being at a live-concert, it is no longer the experience of hearing beautiful music to pleasantly spend the evening, but it has become a "comparing notes" with the other dozens of prominent performers.

Departing from this, technology moved us a bit forward also in a different field; now that we have become more informed, we have also must have added to our critical preferences - or at least we should. While all over the world the era of the so-called Web 2.0 is not a mere phenomenon of just globalising business vis a vis your home, strengthening networking; even arts has now strongly boarded this vehicle for their marketing purposes. While major orchestras even appear on Facebook or Twitter (to name a few), actively informing about there upcoming concerts, even providing possibilities of viewing online or downloading their concert, there is an odd silence in Slovakia. 

Although urging colleagues and other institutions to utilise these available tools, the vast majority has no connection to them. The effect of internet (or Web 2.0) is highly underestimated. There is hardly any connection felt for the possible synergy. The role of a marketing manager is grossly downgraded, as the willingness to invest in this field is close to zero. Slovakia has - sad to say - hardly understood how to deal with quality and how to sell it. Political structures hold a stiffling grip on culture, which is obvious on how institutions are run and when the chief editor of the only classical music magazine, is very selective in his criticism towards key figures in Slovak's culture, giving it a slight flavour of party propaganda. Well, perhaps his job is at stake.

While I sadly see how fast forward moving culture has connected all over the world, where colleagues in my direct neighbourhood like Christian Henner-Fehr, David Röthler, Karin Janner and many more, are successfully channeling art through the Web 2.0, I see Slovakia like a time-capsule, still experimenting as if still in the 1950s. Where music trends are generally speaking outdated, and where innovation is rather smothered than encouraged. Web 2.0 is a great tool, but for Slovakia it is still an unknown field, where the only problem is the Slovak mentality, unfortunately. The prospects are not very optimistic I am afraid.

MS

Operatic hurdles

At the end of August, the Slovak State Opera came at a turning point; after years of dragging and pulling, four run-out managers, finally the General Manager resigned, after which the then (resigned) Opera Director received the position of overlooking - albeit temporarily - the management of the whole organisation. What was known to insiders, a shrouded mystery remained on the reasons why everything took place. Took place then, and most of all, why after so many turbulent, or let's say rather chaotic years, where no truly professional management was in place. 

Mr Pavol Smolík, who currently runs the house has given lately an interview to publicly give some insights (so one hopes). What is immediately apparent that none of the answers give a conclusive impression of what is ahead. Not sure how well the author prepared his questions, what was edited, but it must be said in all fairness, that given the situation in which Mr Smolík finds himself, it is also difficult to work in, and therefore, difficult to conceptualise, implement and carry out to the end a necessary innovation project to help the Opera out of the ditch. 

While having been closely observing the period, where the famous opera star Gabriela Beňačková was endowed with the task of forming the Opera house to equal the great international levels of other famous centres like La Scala, the Royal Opera House, the Metropolitan, and you name it. Afraid to say, that neither Ms Beňačková possessed the skills nor did Ms Hroncová, whose only talent was to keep on firing people and having a talented non-communication style.

What is sad for Mr Smolík is, that Bratislava is not bestowed with many essential elements, that could (or should) lead to this goal of putting the Opera into real and splendid action. There are a few, but nevertheless persistent, hurdles that prevent the Opera to excel: Firtsly a very old-fashioned style of working. The most basic functions operate as if a scene from a 1950s comedy show; innovation is regarded as a threat, and therefore not readily appreciated (concurrently, doomed to fail); new 'talent' is - due to the education system in general - difficult to find or below an acceptable standard; financing of culture and marketing skills is one of the most neglected areas in this country. If you want to change the Bratislava shed into a New York Metropolitan Opera style, it is only a naive perception. Here neither the specialists at the Culture Ministry hardly understand what their role is, nor the faculty of Arts Management of the Bratislava University have produced capable anybody who could or wants to solve this Gordian knot. The question should be asked also: why?

I sincerely wish Mr Smolík a lot of strength and wisdom. He has some goodwill among the stakeholders, which is a good start. How far he will be able to go, is a question mark.

MS

What was or ... what wasn't

The sudden resignation of the whole Opera management is rocking the boat a bit. Initially, somebody, who has been following the whole developments, could make an estimated guess of what went on - an those, who had more first-hand accounts were fairly informed.

Today brought (finally) a certain reaction by the General Manager Ms. Hroncová, who after 4 opera managers in 3 years, finally stepped down herself. Every person deserves a chance to give his or her view on the matter, at least to help us getting a more balanced conclusion of the whole thing. So more than glad to read the interview.

While in some of my earlier blogs, I have pointed out the desperate lack of any official information, giving the Slovak National Theatre (and it's Opera) a misty and secretive wall around it. The communication with the public has always been a neglected issue. Does it matter? A shareholder of any kind of company has obviously the right to know - to a certain extent decide - on management matters. The National Theatre is a public institution, financed with tax-payers' revenues, and therefore; yes, we have the right to know.

The demise of the first three managers, followed by the resignation of Ms. Hroncová has until today still no clear (or official) explanation. Either the parties keep quiet, or express a vague argument, which could be interpreted either way.

Ms. Hroncová has expressed and stressed foremost all her positive results during her 3 year reign. Higher profits than ever before. But who can tell, if all of it is continuously kept suspiciously secret? Was it really such a good result, held back by 'conservative forces within the organisation', or wasn't it? That is in fact the whole problem of the Opera and the National Theatre. Nobody can tell, as all is kept behind the doors of the Ministry of Culture.

Such interviews are therefore a bit pathetic, as this shrouded mystery is the biggest problem (of all the institutions - Radio Symphony, Philharmonic, State Television). Moreover, it's in a legal sense a faux pas. It's sometimes hard to understand, how this keeps on persisting. Twenty years after getting rid of communist rule, culture is still a hostage of the same clique.

MS

Drama at the Opera...

The Slovak National Opera is not blessed with success. To the contrary; it is haunted with resignations, sloppiness and incompetent management(s). Indeed managements - in plural! Ever since I have arrived in Slovakia (only in 2006), the opera has had 4 managers [sic]. Breath deeply and calm down. Yes, you calculated right, 3 years with 4 managers. Not that health reasons overtook the abilities of the said people, or that they reached retirement age. Simply, the general manager of the Slovak National Theatre (under which the State Opera falls) seemed to have an unusual craving for changing her staff a bit. Last week, all of a sudden the new manager (only to accept his job in May) resigned together with the director and chief-conductor. This was an act mutiny at its best.

It shall not be my intention to reiterate what I have written earlier in my blog on earlier decisions and management styles within the SNT/SO, but this development is too grave to let it pass without a comment. In all honesty, because of these former developments, I have somehow completely lost interest in this Opera house. Yet the news of the threesome demise caused a kind of "Andropov-Chernenko"-reaction in me. Perhaps you remember, Andropov who took over from Brezhnev suddenly died a year after in office. The joke went that watching the state funeral (first B. then A.) that people were a bit disappointed, and wouldn't plan to attend next year's funeral. How we laughed about this wry "wishful" thinking... until it indeed happened!

The fact that the SO-manager Mr Smolík's decision was taken so soon (just about 3 months) was indeed a blow of shock. While doing some correspondence, I saw my twitter-bar message appearing and was practically nailed to the ground.

Mr. Smolík was hailed in as the new manager by Ms. Hroncová, as he has shown the best worked out concept for the future of the Opera. It must be said, that at least Mr. Smolík has gotten this post through a public selection procedure - contrary to the previous selections, who were personally hand picked by Ms. Hroncová, which was, to say the least, not according to legal regulations regarding functions in public offices. This, obviously, causing much controversy in the first place.

So the first open procedure was finalised, and Ms. Hroncová fully supported (although, so she did in the previous instances) Mr. Smolík's plans - concepts - experience - know-how and you name it. Why then, the sudden run away? Even the more, Mr Smolík has worked with the Opera all the time before, so one would expect that even on a person-to-person basis, both parties knew eachother, knew what to expect...

The following day, Ms. Hroncová stepped down. In a press conference, she proclaimed what good intentions she had with the SNT (to raise it to a European level), which in some extent could have been true. Yet, there is a slight difference about one's envisioned goals and how to implement it.

True, in some fairness I need to mention that some voices aired that many within the Opera are still having a background from the totalitarian regime. That especially such conservative camps were opposing to her innovative style. In my view, Ms Hroncová's style was far from innovative, and equally imperious as the old regime was - and as mentioned, even trespassing even regulations. Even, when the truth is somewhere in the middle, the (general)manager has a managerial role and managerial responsibilities. Failing communication, transparency, and some counterproductive decisions were not exactly a good example of skilled management. So far a manager's opinion.

Mr. Smolík - after Ms. Hroncová's resignation - agreed to return temporarily to the Opera. Time will now tell, whether he can pull the Opera out of the bog. It is a trend to be seen even in the Slovak Radio, Slovak Television. Just one big drama. Let's see what's next.

MS

Sale season (part II)

The Znojmo Music Festival (see previous article) will have a small encore: Haydn's La terra della luna" will be performed once again in Prague coming October. In fact, just after the closing concert, musicians were pushed a contract for this event in their hands to sign. Fortunately, due to the after concert rush, o few open issues had to be addressed, so further communication followed.

The point for instance was, that a majority of musicians comes from abroad: the contract stipulated only to play a rehearsal and a concert, for a price of 100 Euros. In case you would live around the corner, travelling 30 minutes by subway or tram, it might be acceptable for a fanatic music lover. But in reality, we deal with a following situation: You have to travel from Bratislava to Prague, which is a long trip and you should take the train if you want to avoid the frequent collision related traffic jams. There is indeed a good intercity train connection, which goes only a few times a day. I order to make it to the rehearsal on time, yoru train will leave at 5:35am from the main station. Your day will thus start at around 4:00am!

So the early riser will arrive at the rehearsal and physically play the whole lot including needing the concentration. After the session, there are empty hours before the actual performance. What can you do? Shopping? You have no facility provided to take a siesta, to rest, to practice, ... you are in fact kicked into the streets. After the performance (again full commitment, physical effort and concentration, you can head home, which means you arrive - if you are lucky - at around 3am.

For almost a 24-hours shift, plus artistic output you will get 100 Euros. In case you would take a hotel on your own (which would be ideal, so you will be well rested), out of these 100 Euro's you will left perhaps 20 Euros. When addressing this issue, the organisation simply replies with the statement that there's so more money. Basta.

The fact, that you have a limited budget is quite possible, but then: where do you have the impertincence, to insist professional musicians to work under such conditions?! I would like to ask the organiser Mr Roman Válek one question: Have you ever tried to go to a supermarket, take a product to the counter and tell the cashier lady that you can only pay 10% of the price? Can you imagine what would happen? You will be kicked out. Musicians have also their value.

MS

Wrong expectations...

Slovakia's music scene is relatively small. It's in fact just a small village. Only the lack of a good high-way system makes the country seem vast, where you travel almost a whole day to reach the other end (instead of just a couple of hours). One of the reasons, where one's focus on music is therefore determined to be confined to the capital itself - and thus even a smaller village.

Referring to my earlier articles, where I have encountered a detached type of provincialism in cultural life, something came along my path recently. Although I have marginally noticed this ensemble during one of my surf-sessions, it was only now, where I came across the "Baroque Quartett" from Žilina. My relatively intensive dealing with early music in Slovakia, caused my heart to skip a beat, as I realised why how come I haven't hear anything about this ensemble before. A recent concert in Trenčín would be able to give clarification.

Right at the onset, a serious concert-goer would maybe hear alarm horns sound: what in fact would a "baroque quartett" mean? Calling a group a quartett, would mostly imply perhaps a string quartett, yet the string quartetts became fashionable since the classical period... any other four-some group one would refer to as ensemble so-and-so. Nevertheless, this group is fixed and indeed officially called "Baroque Quartett Žilina". Well, baroque music can indeed be played in an almost unlimited variety of constellations, so let's see. First of all, it appears none of the instruments are period instruments - all modern. OK, I know of instances, where Jan Willem de Vriend also manages to create a fairly convincing baroque sound out of modern instruments. But this was a bit different: when seeing the programme, after Händel (pretty baroquish of course) there were works by Mozart (a bit classicism according to my books, but still ...) then 2 contemporaries and César Franck......... To be honest, a bit strange.

I shall not delve on the technical imperfections, the poor technique and not being able to understand any of the phrasing by the musicians (all professionals as I must believe). The only thing to say this big disappointing concert is this: If a professional musician, is not capable to do his job right - don't be a professional musician. Never mind that one doesn't want to agree with a bit more informed performance of pre-classical music. In that event, don't call your band a baroque quartett. It creates certain expectations. That's pretension to the fullest, and you make your audience look like a bunch of ignorant crowd. This is a 1970s Mantovani style kitsch. This was a level, one would not even send one's kids to as an educational concert. It is appalling and embarrassing. No wonder I never really encountered much of this ensemble, and perhaps better I never will.

MS

Sale season / All reduced prices....

Attended a festival. A baroque music festival. We have a dozens of them around the world. Let's be specific; I attended one in the Czech Republic. In Znojmo to be exact, a beautiful medieval town in Southern Moravia. Nice to be back in my native country. The programme booklets, which were royally distributed around in most restaurants and cafés were impressive. A long list of sponsors (prominent ones included!) and a top star virtuoso violinist was the focus of the whole happening. Nothing wrong here one would say. I was truly looking forward.

Like all major events, there's much to be organised and behind-the-scenes-stress is a daily occurrence. The preparations, contracts with the players, securing venues, and all the thousand other details... you name it. In the past, I was frequently involved in such and it's indeed tough. Glad I am out of there. Yet there is one big tendency, which was almost like a slap in the face, when I found out some of the practices of present day's festivals.

We are all aware, that culture is at the receiving end, and that the receivables are not always very generous. Organisers are faced with such a problem, when putting together their budgets, resulting in inevitable choices; where to apply cutting. Festivals are - or at least should be - prestigious events, adding up to cultural life of a certain town, reviving music practices, attracting extra tourist - which to a certain extent also increase overall revenues for the benefit of the local entrepreneurs (as well as the tax office).

What I witnessed, was on the outside a try-hard glamour; while at the inside, musicians not only enduring some unusual long rehearsal hours (sometimes under almost unacceptable climatic conditions) - but rehearsing is part of their job one would say - it is mostly the accommodations around it, which were shocking. Next to the just mentioned bad conditions (too hot, too humid, poorly ventilated rehearsal places) the housing accommodation was - to use an understatement - appalling.

Taking into mind, that this is not a high-school summer camp, where teenagers may feel OK with improvised or crammed housing conditions; these are professional players, specialists in early music, who are stashed away into a dormitory (where time since socialism seemed to have stood still), three floors, with only one toilet and shower facility for all - somehow the keys are lost, so even a basic given of your privacy to lock yourself while using the toilet is nowhere to be found. One communal kitchen, with a tiny fridge, barely enough for all attendants to put in their basic food supplies. Not that this is a weekend-off event; it lasts for three weeks. The chaotic (and nerve-breaking) organisational chaos in-between the rehearsals, I will not even touch.

When complaining, little is done - or can be done, as resources are limited of course. Yet the star of the event, the Czech violinist-star Pavel Šporcl proudly shines in the lime-lights, maestro Roman Válek (who de facto organises this festival) is complacently strutting around. Sure, Šporcl is an audience attraction - but in all decency; is this the way to pave your path of glory on the backs of exploited colleagues, who work under those appalling conditions for a fee, that is too ridiculous to mention? Since no Czech orchestra was willing to play for you any longer, you called on to Slovakia's musicians (with individual exceptions here and there), and it doesn't take much to figure out that there is much inequality how much people were paid. One should be rather ashamed.

And true, musicians for whatever reason have accepted this gig - they should stand more firm and demand at least unilaterally at least a minimum fee. Yet, only a minority knows how to be more business minded. And this is exploited.

Besides, an interesting observation might be, that the festival is under "ensemblebaroque.cz" - yet, Pavel Šporcl doesn't perform in the HIP style at all, and the attempts of violoncellist Jiří Barta to play authentic is overrated - to say the least. The text of their website would suggest differently.

Znojmo is a picturesque town, but the fact how this festival is run, spoiled my enthusiasm. Perhaps it is because it is the sale season; get the last pieces for a reduced price! That's how music is treated. Just imagine, you study many years on your instrument, researching on specialisations of early music, and this is where one ends up. Among music colleagues, one would expect more collegiality and a sense for respect and human decency. Instead: cheap labour. Cheap business. ... Sad!

MS

Accepting authentic music

Since the emergence of historically informed music practises, in the early 1950s, the camps between the traditionalist and the new ‘rebelious’ or ‘alternative’ performers were somewhat polarised. For some odd reasons, a large group did not want to give in, and the other few would sometimes have the feeling they were the lonely voice calling in the desert. It was as if neither were to meet.

Throughout the years, many new ensembles sprung up all over the world, following the example of Concentus Musicus Wien, the English Consort, the Academy of Ancient Music, and the like, with astonishing results. A whole range of genres were lifted out from the neo-romantic gravy and newly re-performed, with a fresh new sound, giving credit to the authentic vocabulary of the composers. Followed after the early baroque, even renaissance, then classicism, came even up to the romantic period, to be musically scrutinised and reatailored to the ears of the modern audiences, as if you restore an old forgotten painting.

And although, as said, the realm of ‘authentic performers’ seemed a long time to be exclusively for a fanatical few, there is a slow trend, that even the grand masters of the mainstream, are beginning to accept the fact, that perhaps these authentic performances do have justification. Recently, the famous conductor Kent Nagano has begun performing with the Canadian ensemble Tafelmusik Baroque Orchestra. And another highlight; the grand Maestro Bernhard Haitink, year-long chief director of the Royal Concertgebouw Orchestra, known for his Mahler performances.

As he has celebrated his 80th birthday a few days ago, he belongs to the era of the great Maestros of the romantic repertoir. Yet, the perfomance of the Mozart’s Haffner Symphony in Amsterdam was without any neo-romantic elements, as even the (smaller) timpany were from the classical period. A wonderful experience as it is a proof, that autheticity has slowly found its way to the regular concert stream performers and audience. Well, why not? If you want to see the Mona Lisa, you also do not expect a Picasso. Both are equally valuable, yet diverse. And both should be appreciated in their respective “Zeitgeist”. The same with music; the molestation of early music composers’ works with unrealistic style-elements should be banned finally. Professional musicians are grown up people to be able to accept these facts and audiences should demand this quality. Anyway, they pay for their tickets.

MS

Long live the internet... or...

A few days ago, I came across an article in one of the newspapers, which aired a critical outlook on Wikipedia. In short it was criticising the fact, that - although the basic idea is excellent - because of unlimited access to data (and therefore being fully editable by anyone who wishes to do so), the quality of information is at risk. True. While an incomplete article can be completed by someone, who happens to know additional details, the danger is there that an ignorant person could equally alter the contents in such a way, that the article will be incorrect, to say the least, or even manipulate facts on purpose (for whatever purpose, willingly or unwillingly). I must add, that this was referring to a certain language-branch of the Wikipedia, where such abuse was spotted.

The quality check, is therefore up to the reader in general, to cross check (never a bad thing anyway), but in the event you have not a specific know-how of the subject, you might take it too easily for the truth and simply assume you are well-informed.

This morning, I gooogled a bit and stumbled upon a clip, which was published by a recording company on YouTube. It was promoting a young soloist playing some Vivaldi's concerto's (I shall not reveal the name of the soloist, for it is not relevant). The presentation is juicy and illustrates the recording, an interview with the instrumentalist, and of course the usual excerpts of the said recording.

Needless to say: Vivaldi belongs to a certain period, and for about 40 years we already know how badly we have performed these compositions and we are attempting to put them back into their (more realistic) sound context, by means of research and new practices. What shocks me here, is that despite an arch-lute and a cembalo, nobody in the orchestra plays a period instrument, and neither does the soloist, and - of course - the full vibrato romantic sound....

If it was just like that, I wouldn't have bothered perhaps, only then during the interview, the soloist is making such statements as if this recording is finally the summit of totally understanding Vivaldi's music and his time. This is pure pretension and disinformation: none of it what and how it is played has anything to do with Vivaldi, and the soloist looks like almost like a silly text-reader, revealing little knowledge of her profession. When browsing through the comments, it is saddening to see shouts like "music as it should be" (really???), "better than any other recordings" (that's maybe subjective, but definitively not historically correct, and thus questionable).

Such promotional materials are maldeforming the image of music to the audience. And here is the risk again; the information, simply because someone bothered to put it online, is taken for valid, without being questioned. Our sense of being critical to information provided has shallowed over time. I admit, that the internet is a great tool for finding data, and perhaps I couldn't live without it anylonger. But such trends make me extremely wary. When reading, I sometimes cannot help but concluding that we have become very superficial and lazy. If we want to be entertained by Greek-mythology characters on TV in a Sci-Fi kind of setting and listening to a pseudo-Vivaldi like this.... it is too sad for words. It is presumably the Age of Information, but we have become almost void of knowledge. And yes, there are also very high quality performances, but take the effort to look for them.

MS

Good governance (II) - Ministry of Cultural Destruction

After a short introduction on good governance, I would like to make an appeal to the Minister of Culture of the Slovak Republic:

You hold office because of a political consequence, where the public have elected you (albeit your party) into a position to form a coalition-government, which in numbers has a majority in Parliament, BUT it still implies there is political responsibility for the whole society.

You hold office at a Department, which is supervising among others a varied and interesting area in your nation's life: Culture, as we could all agree, is a substantial, unique and inseparable part of people's lifes. Although it happens today and now, some of the cultural strings go far back into history. Next to a specific national character it has also international connections, as culture has always gone over national borders, forming a symbiosis of colourful flavours to re-emerge as a innovated artistic expression elsewhere.

Our societies have changed over the years; while in the old days, governing was a purely "imperious" matter, our internet age has brought information closer to the public. Government decisions are hardly kept locked behind dusty cabinet-walls, but are sooner published and known to people than in the past. Not just because of unwanted information leaks, also because the governments' press departments publish decisions, which were officially not even made yet.

Concurrently, for the past few years we see an alarming mismanagement in public organisations like the National Opera, Radio Symphony Orchestra, even the Slovak Philharmonic. Nevertheless, non of the involved competent parties (as would be your Ministry for instance, as the highest organ) ever visibly implemented a change in order to come to a solution. Still the responsible people are held accountable. Rumours are spreading, discussions occur on different web-forums, and none of them are being seriously addressed (at least to clarify and take away the unrest).

You hold office, because you are entrusted with good governance. Indeed, it could be argued that governments should not interfere in cultural matters. This is true, up to the point, when cultural institutions are undergoing severe abuse from its managers. It is your responsibility to interfere in such a situation. Although Slovakia is a member of the EU, even within the Schengen-Area, yet one gets almost the feeling of living in an African country, where politicians do as they please. This is not the mandate of your society and it is not a behaviour which fits in the EU-setting.

As I set forth in my previous article, good governance needs a set of minimal requirements. Only then, the credibility of management and leadership can be restored. The media and verified sources unfortunately tell another reality. Good leadership requires adequate decisions. Or else, your Department might start considering a new name; Ministry of Cultural Destruction. I think, none of us would appreciate that.

MS

Good governance (I) - Introduction

Go-ver-nance: decisions that define expectations, grant power, or verify performance. It consists either of a separate process or of a specific part of management or leadership processes.

In societies, and foremost in developed ones, a public post holds the responsibility for the area for which it is appointed to. A responsibility implies that such a governing body and its decision-makers are accountable for all the decisions and that those decisions should be for the benefit of general interest. Never to the interest of a few individual key-role players. In the "developed countries", where there is a long tradition of democratic political mechanisms, the term "good governance" is further defines the required (and acceptable!) aspects of the roles and responsibilities of such a public decision making organ.

Good governance, next to its implied management and leadership roles, adds a few specifics. In short one could put forward that the basis of good governance consists of participation, regulation, transparency, responsiveness, consensus, inclusiveness, effectiveness and efficiency. One could justly argue, that "leadership" itself implies these qualities, yet applying certain tools and therefore executing (even bad) leading functions at the exploit of others could also be regarded as leadership. This aside, however.

As we face a financial crisis (at least, at the time when I am typing this article), many public decisions are requiring some change and many organisations and governments are - sometimes somewhat startled and panic-struck - have halted some decision-making activities altogether. From a human point of view, understandably, up to a certain extent.

Yet, for the past few years, I have unfortunately observed a few trends (so even way before the crisis started) which cast deep doubts, whether the involved parties would have faintest notion of what good governance indeed is. Instead, there is visibly a high occurrence in indifference, favouritism, bureaucratic incompetence, even corruption. Whereas the public office is expected to act in the general interest, party politics and personal ties supercede any logical, visionary or strategic conduct. This is therefore completely detached from any crisis, global or regional. In the end, all benevolence of the public and credibility of yourself turns into a sour atmosphere of suspicion. In case of true interest to (in case the suspicion is not founded) reveal openess to assure the public of the right objectives. Yet, none of this happens, and the suspicion therefore is ... indeed: affirmed - at least to the appearance.

Such a state, is harming all involved, especially those whom the public organ is to serve.

MS

A lost speech

Yesterday I arrived home too late to pay attention to the news. Just another day. As I opened my news-bookmarks this morning, I noticed an entry of a speech of the Slovak President in parliament. Oh yes, I vaguely remembered it was mentioned on the news. Just taking a glance, and just before clicking away, suddenly my eye fell on the sentence with the word "culture"! I began reading and fortunately there was a link to the integral text of his speech. Especially this section caught my attention:

"Our culture is the fundamental character of our Slovak identity. Its uniqueness is being strengthened, even through its openess, its moving towards and exchange of other cultural values. Our culture is our principal message to Europe and to the world. Today it lacks a bigger courage in its view on us and the surrounding world. We need timeless visions, refusal of trash and quick commercial fame. This is especially the case in creative arts, which has started to copy cheap foreign successes. Bussiness is nowadays cruelly trampling on the qualities of culture. We need to change this and support every attempt into this direction. ... "

One could not agree more. While the message of this excerpt is touching, and true, the context of the President's speech including the reactions of various parliament members gives it a grim after-taste. Cultural life suffers quite much - not only to mention the sheer implementation of funding culture (and I am not talking of the effects of a financial crisis here) but also the visible abuse of some of those involved, where the artistic quality seems irrelevant but what counts is one's political allegiance. In the event, he would have really cared, he could have intervened. He has the tools to do so. He never did.

Knowing - although I greatly regret having to say this - that the speech will land on deaf ears, the short-lived excitement of having read such frank truth on culture from a politician's mouth has slowly faded already. For such issues one needs a true statesman. One still hopes though.

MS

source: SME Newspaper
translation by the author

Failing PR in the Opera

A few days ago, a news item appeared on the internet pages of the most prominent Slovak newspaper. Only on internet. It was an open letter from the previous General Manager of the Slovak National Opera Marián Chudovský, addressed to the present General Manager Ms Hroncová to step down for proven mismanagement, simultaneously appealing to the Minister of Culture to take adequate steps. The smashing facts - so obvious, that even a blind person could see them in the past few months - were fully justifiably summed up, and still in a courteous manner. The fierce discussion, which it unleashed afterwards - less courteous in some cases - revealed even further serious matters that lingered under the surface. It was a deed, which normally speaking demanded a reaction. Any rection would do.

I waited for a few days, till another article appeared... In my wildest dreams I couldn't have imagine this to be true. What was missing? Any official respons of any possible kind to the facts presented. Here we are slowly treading into a dramatically damaging situation. Ms Hroncová has managed the National Theatre (under which the National Opera falls) for 4 seasons. She holds an almost unique record of having used 5 managers in the Opera (which she appointed herself, then disposed off). What good does it serve? Especially the last 2 Opera Managers were the least successful - a conductor (Oliver Dohnányi) not paying any attention to his function of being a manager at all, then the renowned opera diva Ms Beňačková, who at the beginning perhaps did try to play the role of a manager, however, had no managerial skills at all and after only four months left, shrowded in deep mysterious silence. During her office, the Opera had the most performance-changes, replacements and/or cancellations in history (and not all because of indispositions of soloists...) The Guiness Book of Records can add another chapter.

Where people work, some disaccords or mistakes do take place. When we work with transparency, we have some extra credit to mend our wrong decisions. The Opera seems to live in a phantasy world, where management is convinced that deceit and lying will remain within its walls as long as you keep your mouth shut.

The discussion after the aforementioned article proved exactly how well informed people are, and thanks to internet, insiders have a way - even as anonymous discussion partners - to reveal inside information without limits. Ms Hroncová and the Ministry of Culture should be much at guard; exactly their silence, trying to ignore signals, will prove deadly. If Ms Hroncová - by way of her spokesperson - refuses to react because Mr Chudovský's accusations are "emotional", this exactly arouses the suspicion. Why is it so problematic to admit flaws and explain what your strategic planning is? One doesn't refute news or rumours by refusal to communicate. In short: Ms Hroncová is not able to prove Mr Chudovský's points being emotional (thus implying they are false) because they are correct and valid points.

Likewise, when Ms Beňačková left, not even a press-release was issued, the spokesperson was too busy "because of a première". What foul business must be hidden behind doors of Ms Hroncová's office? As the State Opera (c.q. National Theatre) is a public entity, government (tax-payers' money) goes there. But neither the Ministry has an interest in clarifying the matter. But in a country, where the Ministry pays the Slovak Philharmonic a budget, plus stashes additional sums (quasi for extra projects) into the pockets of its Director, meanwhile refusing to support other ensembles, which have even more to offer, it obvious how the political maffia systematically misappropriates funds. In other EU countries this is a punishable offense. In plain language; it's criminal behaviour. In Slovakia it's a sad reality. If we imagine how public broadly reacted on Emile Zola's newspaper article J'accuse, Slovak leaders are marked by an all present stiffening authism when fishy business is being addressed.

My recommendation; why doesn't the Ministry and its comrades-in-arms apply to go on a course "Basics in PR within Public Administration" (If it's too much of a luxury; you could request even EU-Funding for it!). There is still much to learn. Good governance is a rare asset these days.

MS

A Message from Obama

Even though Slovakia's economy has still the highest growth (!) within the EU, the effects of the crisis are slowly being noticed around. Foreign and national investors are pulling out the plug - be it partially or completely, and some closing down of factories has been reported already. The negative effect on arts is therefore even harder felt. It is not so much that the audiences are no longer coming out of their houses to attend concerts or galleries. It's rather the attitude of the institution which is in charge of exactly these arts that is pulling out and many performances and exhibitions are simply smothered by the Ministry of Culture for not receiving any support any longer. One would perhaps argue that if there's no money, then the state can no longer finance. OK, point taken. But in this fact, the money is certainly there (meant for this purpose). The sad thing is, that the money goes into the wrong pot, while at the same time, it gives a wrong signal to the public too, causing even private sponsors to lose the little remaining interest, which was still left. And thus the downwards spiral is created.

Therefore, the election of Barack Obama seems to be a promising turning point. As the most powerful person on earth, who has all the media's close attention, he has not only openly and unequivocally criticised managements of the large corporations for their money-covetting behaviour. What is a most astonishing signal, is that Mr. Obama has openly demonstrated his concern about the state of the arts. Not just by mere mentioning in one of his speeches. He called in several managers of arts institutions to the state's capital (even before he was inaugurated) to discuss the problems.

As most US presidents have - perhaps to add a tiny extra boost to their image - invited various pop-stars, playing the saxophone with them, president Obama seems to have a different type of interest in arts. Not to mention, that during the inauguration we could witness even a few minutes of a classical genre music. Obama seems to see a clear link between the role of (quality) arts and the strengthening of social cohesion. A valuable lesson from FDR? The unifying bond of a society in times of crisis. Where, as I have repeatedly pointed this out, art i.e. culture is a public domain, which comes initially from the people itself. As we (i.e. the tax payers) finance our government offices, it is the responsibility of the government, to have a solid and an empirical understanding of the function and value of arts. If the government refuses to see these connections, it is slowly tending to a kind of misappropriating of funds (I repeat: for which we pay). When giving a positive signal on culture, it will influence the general attitude towards culture and the more funding from outside somehow will be a result. Culture as a prestige still works. And as we look with envy to culture hotspots like Paris, Rome, New York, Milan, we don't even consider the question; how these cities ever became such important centres. It is unfortunately that so few people realise that everything has a start somewhere. And not that "we are not, so we will never be!". Staying passive is never a good strategy to advance. It is especially in these times, that we need to be creative and try to make a difference.

Last weekend, there was an artist ball in Snina. Probably, you have never heard of this city. It's perhaps the most Eastern town in Slovakia (near the Ukrainian border) with a population of only about 40thousand. No highway going there. Yet many guests (included the undersigned) had travelled for many hundreds of miles to be there, while the capital of Bratislava was celebrating mostly commercial-tabloid-type balls. When chatting with various artists - from Slovakia, Ukraine, etc - you sense a positive energy and a certain optimism as well. Hopefully, the clear message of president Obama on the value of culture will reach other political leaders as well and we will realise that perhaps our materialistic days should be replaced by priorities with a more intrinsic value. It would enrich all of us.

MS

Thank you for the financial crisis

Although the heading of my today's blog may sound a bit cruel, nevertheless I would like to make a kind of comment on the crisis from a different angle. Within the art-sector - though not exclusively - the pain of dried-up grants and subventions is being felt quite heavily. Yet, as a manager, I am a bit amazed by the fact how things are going.

First and foremost, the crisis was not too unexpected. For financial experts and economists, it is already an obvious given, that a crisis is a cyclic occurrence, which we are faced with every 10-15 years. The sad thing is, however, that mostly we hardly ever learn from the previous. Despite these signals, those who are in fact the experts, are also the ones who deliberately create the next crisis. What did we learn from the hedge-funds? Nothing: We just jumped into a similar empty bubble.

Ever since the rise of Liberalism there is a group of people (mind you: wealthy people), who somehow are trying to find a way, to become more wealthy. And mostly at the expense of others, and to be more exact: the poorer masses. I am definitely not talking of solutions like those by Karl Marx (although, in the light of miserable poverty during the industrial revolution era, quite understandable). When we just take a look at the Great Depression of the 1930s, where through thorough government interventions of President Roosevelt, the United States were able again to slowly crawl out of the ditch. As we compare later the total opposite political programs of the let's say Reagan and the Bush (Jr) administrations, we see again sharp declines. And although Republicans complain about the Democrats, who - in their view - have a devastating economic policy, it is exactly the Republican administrations that cause soaring huge state deficits and an ailing economy, while the Clinton administration has left the White House with the biggest surplus in history.

History clearly showed, that Reagonomics, Thatcherism and other laissez-faire inclined politics have led our world economy to the edge,by becoming so greedy, that those empty bubbles (like the internet bubble, the finance bubble) were the obvious result of uncontrolled money-hording, which slowly has become a norm. Our society is hardly interested in culture or arts anylonger. What is cool nowadays, is a big jeep, a big house (with a number of rooms, you hardly will ever use yourself). Now that joy is over. And the crisis is again - like a catharsis - showing us a mirror, giving us a change - to cleans ourselves where we should earnestly ask; "what have we done?". Mind you that those CEOs or CFOs, who were heading with these companies into this mess (and they should have known in the first place), are - at worst - leaving the almost bankrupt companies with a multi-million severance package, while those, who were down the ladder face perhaps long-term unemployment, losing everything they have. Should we just tolerate such??? Well, we agreed somehow to let loose the control mechanisms, as we were so eager to reap the seemingly unlimited profits. Lulling ourselves into a comfortable worriless sleep. Another question springs up in my mind: Since economic theories - in their whole extent - can hardly withstand time and prove to be fully invalid after a number of decades, how can some Nobel-Prize winners seriously be convinced of their theories - knowing that economics is no dogma - or is it because they get the benefits of it too (as was the case in the LTCM crisis)?

It is perhaps time, finally to wake up and to reconsider our values; that perhaps we really don't need a jeep to bring our kids to kindergarten or for going to the supermarkets. Maybe other values in society - e.g. to enjoy reading, art galleries, concerts, are contributing far more to our character-building than that what we have been doing for the past years, by consumption-materialism beyond belief. Perhaps, this can be a good starting point to re-design our societies; to prioritise again, and choose for more sustainable values in life.

MS

Bio-Music...

A few days ago, while I was somewhat hastily shopping in our local supermarket, I stopped pondering over the choice of buying a box of regular tomatoes, or the (much more expensive) biologically grown equivalent. As we prefer tasty, fresh, Mediterranean delicacies, my choice was easily made. Sorry for the bleak, cheaper-produces, glass-house tomatoes from Holland. This time it was not only a matter of "better taste", but also the knowledge that one would not be chewing some chemical residues or pesticides along with it. At the same time, an older article by Christian Holst crossed my mind, where he made a striking comparison between strawberry flavoured Bio-yogurt and an artificially modern manufactured flavoured strawberry yogurt as a metaphor for recordings of Rene Jacobs and those of Herbert von Karajan. As I am - personally - not very much inclined to Karajan at all, nevertheless I do try to make the choice between the modernistic approach and the Historically Informed Performance practise. And, as Christian Holst correctly mentioned: "The modern artificiall strawberry jogurt may taste more-strawberry-like, yet it does not make it a better yogurt". Why do I expand on this right now?

As we find it nowadays necessary, in general, that we inform people about health hazards and being conscious about our weight, dietary habits, etc., yet the promotion of early music in Slovakia is not always regarded as being nonsensical, unnecessary, even up to the extent of being perhaps blasphemic. And while the rest of the world already accepts Historically Informed Performances, the Slovak Culture Ministry - including the Bratislava Music Academy - seems to smother every serious attempt to have early music thoroughly researched and studied. Moreover, the Ministry of Culture holds back grants, referring to the already active music repertoire of early music of the Slovak Philharmonic. The times that - let's say - the New York Philharmonic or the Philadelphia Orchestra played e.g. Bach or Handel are way back in the past, and no serious conductor would dare to put these compositions with such orchestras on the bill, since it does require a bit of a different apporach. Yet the Slovaks have still the idea, that they live in a time-capsule; we still live somehow in the 1960s, and that Bach can still equally be performed à la Karajan, Ormandy or Stokowski.

A few weeks ago, the Slovak violinist Juraj Čižmarovič (currently concert-master at the West Deutsche Rundfunk Orchestra) was playing - together with befriended musicians/quartett players - Antonio Vivaldi's The Four Seasons in the historic building of the State Opera in Bratislava. What was so sad about this action: This was not Vivaldi. Even if Mr Čižmarovič and his colleagues have no interest at all for the permormance of baroque music, he even showed off in front of the camera his virtuoso-techniques... by not even being able to play the correct notes, playing the ones left even embarrassingly out of tune.

If this is the level, how an instrumentalist is still being hailed (despite the embarrassment he demonstrated so publicly) as almost "the greatest Slovak violinist", it says a lot about the audience as well as the arrogance of a certain group of (colleague)musicians and their political patrons. Ignorance and arrogance is widely ruling, and they have become - thanks to the label of playing under the Slovak Philharmonic, Opera, or whichever institute - thoroughly and utterly complacent. But still: you may prefer the artificially flavoured jogurt, just because your taste-buds are spoiled by mere chemicals, the only truth about which product is truly of better quality is very obvious. Perhaps to think whether we should invest more into the musical bio-strawberries before they completely die out.

MS

Culture is not about just being old-fashioned...

Writing a blog is fun to do; it gives you an opportunity to analyse your own thoughts, it saves time as potential customers can scan your opinions (or let's say; free advertisement) and you don't have to go through time-consuming publishing processes. When placing a web-counter/stats application it gives you also a feedback of who is reading your blogs and ... for what reason.

For the past few months, I have analysed my page hits, and come up with an odd finding: whether readers are from India, Nigeria, Canada or the UK... I can see remarkably many search requests for "is culture static/dynamic?". Scaringly similar! And although financial crisis or not, whether a certain political coalition is favourable to culture or not, it seems that there is a universal quest for finding out whether culture is something that is static (stiff, unchanging, conservative) or dynamic (subject to changes, flexible...). And it makes you think even more about exactly these search queries.

When taken only at our modern setting's outlook, we consider perhaps modern mass-media culture as being dynamic. In my case, I am referring actually to culture as not being MTV-spots but to culture of music traditions. Music from the Renaissance, Baroque, Cassicism, Romantic period... Music of our forefathers - therefore long long ago,.. thus "static". Yes, music of our forefathers, but nevertheless so much alive and exciting to fathom. Why fathom? Because through time, to a certain level, we have lost touch with it. Now, in our modern era of almost unlimited access thanks to internet, we can re-discover the dynamism of early music even re0invent the clear sound of late-romanticism, which we have unfortunately polluted with overly-zealous vibratos losing cristal clear intonations and harmonic cleanliness, making the music more alive and appealing.

A few weeks ago, I have invited some friends - who would hardly ever go to a classical concert - to a concert of the ensemble Musica Aeterna. Playing French baroque music, this would perhaps be a different planet to them. Although they would never tune their radio to a classical station, or buy a CD with Pinnock, Gardiner and whoever else, they were much astonished about the vibrant vivacious nature of the performance, even intrigued to the very end.

Pursuing research regarding old manuscripts, performance practices, is usually an exciting quest -almost an adventure. You blow off the century old dust and find out about the lively emotions of musicians of centuries' ago. And discover that we do hardly deal with stiff two-dimensional painting like figures but true people living through all strata of human feelings, which resemble ours. When approaching early music with such a "jazzy" attitude, it can be demonstrated that even "early music" is hardly a kind of dinosaur skeleton in a dusty museum, but a exciting encounter with our forefathers who are exactly... like us. It shows us, how wrong we have perceived their lives. Culture is hardly from static; it is dynamic and fully alive.

A happy and musical 2009 to you all!
MS