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