There’s certainly been lots of talk about the relevancy of classical music lately, with various industry writers, administration types and orchestral musicians weighing in on the associated issues. “Community engagement”, the role of an orchestra in today’s 24/7 hyper-connected society, long-term sustainability, and how to engage a broader audience have all been hot topics. So I have a question: why are we still wearing these ridiculous costumes for performances?
Link dump featuring DSO, YouTube, Dietmar, and Glenn Beck
It’s been an interesting few weeks in the classical music world, so here’s a quick rundown of some events that really got my attention. Starting with the Detroit Symphony, which reached a tentative contract agreement this week and actually went back to work today. Also notable was today’s interview with DSO music director Leonard Slatkin. But so far there are has been no public release of the actual details in the agreement.
Pants on fire.
In case you’ve been under a rock for the last several days, affairs in Detroit have become pretty dramatic. After their rejection of the “final offer” on Saturday, on Sunday the musicians were met with a truly bizarre turn of events. One question kept entering my mind: was the DSO management just disingenuous the entire time, or simply continuing their established pattern of ineptitude regarding the press?
Too big to fail? Maybe not.
The management of the Detroit Symphony has presented a revised contract proposal in an effort to end the 4-month strike. It’s probably fair to say this is a “final” offer, given the Feb 11 deadline to respond. And if no agreement is reached based on the new proposal? I’m probably not the only one who found that ad during the Super Bowl a little ironic.
Auditions are fun!
Maybe sometimes. But my orchestra recently conducted a few inconclusive auditions, including one last week that involved about 125 candidates. Although I can’t comment on actual audition results or discussions, these episodes did get me thinking (again) about how antiquated and inefficient the orchestral audition process can seem in today’s high-tech world.
Three wishes (at least).
Inspired by both Bill Eddins and Drew McManus, I’ve got three wishes (at least) of my own for 2011:
For the musicians/management of the Detroit Symphony:
That you find a realistic and fair solution before the end of this month. By “realistic and fair”, I mean one that takes into account the concept of cooperation and compromise while still acknowledging the very significant challenges facing the orchestra business today and the vital role the DSO occupies in the cultural and economic landscape of Michigan (and beyond).
And by “compromise”, I do not define that as one side saying the same thing over and over in order to teach the other side a lesson or prove a point. Whether or not you realize it yet, you are all stakeholders, and time is getting short.