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THE MAGAZINE OF

THE LEAGUE OF AMERICAN ORCHESTRAS

Future Tense What’s

Next for Orchestras

Youth Orchestras and El Sistema USA Freelance Musicians and the Economy The Who, What, and Where of Summer Music Festivals

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Prelude

Vo lu m e 6 1 , N u m b e r 3

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nnovation. That’s the word buzzing around multiple orchestras right now, as they readjust, regroup, rethink everything from management structures to relationships with musicians to engagement with communities. Certainly the daunting economy and shifting cultural values have been prods, driving some organizations to revise how they do business. Not everyone is implementing change; many orchestras are doing just fine and are sailing along in splendid status-quo style. But other orchestras have been looking at and trying out unconventional practices for some time now, in a spirit of experimentation. They are thinking about what might lie ahead, and how they can shape their own destinies.

In his Critical Questions column, League President and CEO Jesse Rosen introduces Fearless Journeys: Innovation in Five American Orchestras, a new book from the League that presents case studies of innovation in action at orchestras of varying sizes and artistic profiles. The book comes out this May, and we’ve excerpted the book’s Foreword to provide initial context and set-up. In this issue of Symphony we also hear about innovation from a different perspective, in a provocative article by Greg Sandow, a music journalist and longtime observer of the scene. Some of his proposals are forwardthinking, some are fanciful, and some are eminently practical; the notion is to put a variety of ideas on the table.

There’s more—much more—in this issue and in our digital edition, SymphonyOnline.

Be sure to check out SymphonyOnline and let us know what you think by using the online discussion forum.

The Magazine of The L e a g u e o f Am e r i c a n O r c h e s t r a s

symphony®, the award-winning, bimonthly magazine of the League of American Orchestras, discusses issues critical to the orchestra community and commun­icates to the American public the value and importance of orchestras and the music they perform.

editor in chief Robert Sandla

senior editor Chester Lane

Managing Editor Jennifer Melick

Assistant Editor Ian VanderMeulen

EDITORIAL INTERN Eileen Reynolds

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symphony PUB Symphony

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symphony m ay / j u N e 2 0 1 0

The Magazine of The League of aMerican orchesTras

2 prelude by Robert Sandla

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4 The score Orchestra news, moves, and events

16 currents Four decades after the 1960s cultural revolution, it’s time for orchestras to make some drastic changes. by Greg Sandow

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paid to play Freelance musicians tell their recession tales. by Ian VanderMeulen

Karl Merton ferron/baltimore sun

12 critical Questions How can the orchestra industry be more innovative? A new book is out, chronicling five success stories. by Jesse Rosen

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on the road to el sistema, part ii Kathryn Wyatt and Rebecca Levi file a second behind-the-scenes report from New England Conservatory’s new Abreu Fellows Program.

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The sound of Young america Conducting a youth orchestra can be a career stepping-stone— or a lifelong calling. by Chester Lane

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chain reaction Summer music festivals are cultural destinations, but they’re also an economic engine for their communities. by Heidi Waleson

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summer festivals 2010 An overview of summertime musical meccas.

61 advertiser index

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62 League of american orchestras annual fund 64 coda The Boston Pops turns 125: a photographic essay.

72 stat of the arts onLine onLY Classical music, by the numbers Throughout the issue, text marked like this indicates a live link to websites and online resources.

boston Pops

66 partners in practice onLine onLY The University of Michigan’s recent American Orchestras Summit suggested ways that orchestras can work more effectively with other organizations. by Mark Clague and Michael Mauskapf about the cover

Transporting a double-bass while on rollerskates seems an apt metaphor for classical music in the 21st century. Three articles in this issue—“Critical Questions,” “Currents,” and “Partners in Practice”—address how orchestras are facing the future.

Cover photo by Zigy Kaluzny/Getty Images

SCORE News, moves, and events in the orchestra industry The

Global Arts Challenge

The Chicago Symphony Orchestra streamed its season announcement live on cso.org.

The Saint Louis Symphony Orchestra broadcast its 2010-11 season announcement on HECTV.org.

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Seasonal Streaming

As orchestras opened the new year by unveiling their 2010-11 season plans, announcement platforms that might have seemed high-tech novelties a few years ago have increasingly become the norm. The Atlanta Symphony Orchestra, Chicago Symphony Orchestra, and Los Angeles Philharmonic all streamed press conferences live on their websites. The New York Philharmonic, meanwhile, posted minute-by-minute updates from its season announcement press conference on its Twitter page. The orchestras of Los Angeles and New York announced their seasons within an hour of each other, making for a packed day for any orchestra fan with a computer and internet access. The Saint Louis Symphony Orchestra streamed its season announcement in “town hall” format, taking questions both from a live audience at Powell Symphony Hall and through email at HECTV.org. The Philadelphia Orchestra took the unique approach of sending out memory sticks that included their 2010-11 press kit in digital form. To watch press conferences and related videos, click on each orchestra’s highlighted name at SymphonyOnline.

Jonathan McCormick

Video supplements to the Los Angeles Philharmonic’s 2010-11 season announcement include a conversation between Music Director Gustavo Dudamel and Executive Director Deborah Borda.

“What is the difference between art and entertainment?” That was the opening lob of February’s “Arts Leadership in Focus” panel discussion, presented by the Forum of Young Global Leaders & World Economic Forum at Carnegie Hall. Matthew Bishop, New York bureau chief of The Economist, joked that the difference is that people pay for entertainment, while art needs to be subsidized. Serious questions such as crime, education, and poverty were addressed by arts leaders and top names from organizations like the InterAmerican Development Bank, the University of Pennsylvania’s Wharton School, and Wolfensohn & Co. Los Angeles Philharmonic President and CEO Deborah Borda tackled the tough sell of “return on investment” to arts philanthropists; Hilda Ochoa-Brillembourg, founding chairman of Youth Orchestra of the Americas, talked about the arts’ importance in “feeding the human soul.”

Hilda Ochoa-Brillembourg, Erwann MichelKerjan (moderator), and Klaus Schwab at “Arts Leadership in Focus” panel discussion

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Musical Chairs The Boise Philharmonic Association has announced the appointment of TOM BENNETT as executive director, effective May 1. has been named music director and conductor of the Vermont Youth Orchestra Association.

RONALD BRAUNSTEIN

Students try out new instruments at Jones Hall in Houston.

From North Carolina to Botswana

The Winston-Salem Symphony in North Carolina chose a different way to celebrate the fiftieth anniversary of its Mary Starling In-School Education Program: it set up a book drive for libraries in Africa. The initiative was conducted in partnership with 43 area elementary schools, with a goal of collecting 43,000 books for elementary school libraries in Botswana. The orchestra’s book drive began on January 4 and ended on February 19, with books set to arrive in Botswana in early spring. The nonprofit African Library Project, based in San Francisco, assisted with the project, and Hanesbrands Inc., which is based in Winston-Salem, provided storage facilities for the books as well as staff and materials to pack books into bulk shipping containers.

First-graders at the Petree elementary school in Winston-Salem, North Carolina, with books collected for donation to libraries in Africa

The Tucson Symphony Orchestra has announced that SUSAN FRANANO will retire as executive director effective May 15, 2010; the TSO has begun a national search for her successor.

InterSchool Orchestras of New York, based in New York City, has appointed JEFFREY D. GROGAN music director, effective July 1, 2010. has been named executive director of California’s San Luis Obispo Symphony.

BRIAN HERMANSON

The Houston Symphony has announced the appointment of FRANK HUANG as concertmaster, effective next season.

Musical Chairs

Students in Los Angeles, Boston, Houston, and Chicago got a pleasant surprise in February, when their public schools received a total of $500,000 in new instruments from Fidelity Investments. The instrument donation is part of a broader musiceducation initiative by Fidelity that includes new music competitions for high school students, with a grand prize of performing with local orchestras. During a four-city simulcast announcing the initiative, performers included the Boston Pops, members of the Chicago Symphony-sponsored Percussion Scholarship Group, and musicians from the Renaissance Arts Academy in Los Angeles. Actor Jamie Foxx was on hand to unveil the instruments; also present were actress Joan Cusack, Chicago Symphony Orchestra President Deborah Rutter, Houston Symphony Principal Pops Conductor Michael Krajewski, Los Angeles Philharmonic President Deborah Borda, and Boston Pops Conductor Keith Lockhart.

Coucheron has been appointed director of artistic planning at the Charlotte (N.C.) Symphony.

TANYA DAVIS

Dave Einsel

Sound Investment

Jeff Roffman/ASO

The Atlanta Symphony Orchestra has appointed DAVID COUCHERON concertmaster, effective in September 2010, and has named MICHAEL KRAJEWSKI as its first principal pops conductor.

has been appointed concertmaster of the Amarillo (Tex.) Symphony and first violinist of its touring ensemble, the Harrington String Quartet.

ROSSITZA JEKOVA-GOZA

The Boston Symphony Orchestra has announced the election of Liberty Mutual President/CEO EDMUND F. KELLY as chairman of the BSO’s Board of Overseers, effective September 1, 2011. has been named manager of education and operations at the Westchester Philharmonic, based in New York’s Westchester County.

JULIA KOO

Florida’s Orlando Philharmonic has announced that ANDREW LANE will step down as principal pops conductor at the end of this season, following seventeen years in the post.

The Raleigh-based North Carolina Symphony has appointed ANDREW LOWY principal clarinet, effective next season.

The Arkansas Symphony Orchestra, based in Little Rock, has announced the appointment of PHILIP MANN as music director, effective July 1, 2010.

The Melrose (Mass.) Symphony Orchestra has announced the retirement of MILLIE RICH as president and CEO, effective May 1.

VANESSA ROSE-PRIDEMORE has been named managing director of The Knights, a New York City-based orchestra.

Virginia’s Richmond Symphony has appointed STEVEN SMITH music director.

ROBERT WALTERS has been named professor of oboe and English horn at Oberlin Conservatory of Music, effective July 1, 2010.

Smith The Reading (Pa.) Symphony Orchestra has announced that CHARLES WEISER will retire as executive director August 31, 2010, following eleven years in that post.

americanorchestras.org

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Visitors explore the Chopin Muzeum’s new Zelazowa Wola room, with a 3D wraparound map covering Chopin’s time in Poland.

Louisville Legacy

Marcin Czechowicz, courtesy of the Fryderyk Chopin Institute

A feature-length film documenting the founding and early years of the Louisville Orchestra is set for theatrical release in Louisville on May 20. Music Makes a City, the work of San Francisco filmmakers Owsley Brown III and Jerome Hiler, is a tale of artistic vision and civic commitment told through local voices, vintage photos (pictured here: the orchestra preparing to depart the city for a 1950 concert at Carnegie Hall; founding conductor Robert Whitney displaying a circa-1955 product from the orchestra’s First Edition Records label), and interviews with key figures including current Music Director Jorge Mester and composers Elliott Carter, Lukas Foss, Gunther Schuller, and Joan Tower. A special screening of Music Makes a City will take place June 17 during the League of American Orchestras’ National Conference in Atlanta.

To view a trailer from the film, visit http://www.youtube.com/ owsleybrownpresents.

Chopin Goes High Tech Marcin Czechowicz, courtesy of the Fryderyk Chopin Institute

Frederic Chopin’s cufflinks—as well as scores, manuscripts, letters, and other personal effects—are now on display in Warsaw, Poland at the revamped Chopin Muzeum, which opened March 3, two days after the composer’s 200th birthday. In contrast to its setting in the 17th-century Ostrogski Palace, the exhibit is ultramodern, using cutting-edge technology to provide customized audiovisual presentations based on preferences recorded electronically at the ticket counter. Designed by the Milan firm Migliore + Servetto Associated Architects, the exhibit’s four floors are divided into galleries with names like “Chopin in Paris” and “Women in Chopin’s Life.” One gallery simulates Chopin’s father’s drawing room; another, outfitted with colorful cushioned furniture, allows children to use touch screens to learn about the composer and his world.

Massachusetts Concert Honors Earth In February, the Orchestra of Indian Hill in Littleton, Massachusetts was at the center of

works chosen to “honor the earth and its people.” An evening concert at Littleton High School Performing Arts Center included selections from Beethoven’s Pastoral Symphony and Holst’s The Planets, an arrangement of John Lennon’s “Imagine,” and music by Native American flutist/composer R. Carlos Nakai. Daytime activities included a hand-drumming workshop led

Louisville Orchestra

“Peace and Harmony,” a daylong Native American festival that culminated in a concert of

by the Wolf Cry Singers and presentations by Native American storyteller Jennifer Lee.

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Hand-drummer Harry Robinson gives instruction during Indian Hill Music’s “Peace and Harmony” festival.

Louisville Courier-Journal

The hand-drum group Wolf Cry Singers performed at Indian Hill Music’s Native American Festival, in Littleton, Massachusetts in February.

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Paul Kolnik

Jim Courtney

With arts funding in New York State on the chopping block in February, orchestras from Buffalo, Rochester, and Syracuse joined together to offer a statement against Governor Paterson’s proposed $6.5 million in cuts to the New York State Council on the Arts budget. Rochester Philharmonic President and CEO Charles H. Owens (top) and Buffalo Philharmonic Executive Director Daniel Hart (below) highlighted the positive impact of the state’s orchestras on the economy and were among the officials who visited the capital to testify in front of a joint legislative committee hearing on arts and tourism.

Lasch Photo

Capital Cause

composer Krzysztof Penderecki conducts the Yale Philharmonia in his Credo, 2005.

At New York City Ballet, choreographer Mauro Bigonzetti rehearses principal dancers Tiler Peck and Gonzalo Garcia for his new ballet to a commissioned score

by Thierry Escaich.

Robert Lisak

News Sounds, New Moves

Penderecki on Stage and Screen

Back in 2005, Krzysztof Penderecki conducted the Yale Philharmonia, Yale Glee Club, Yale Camerata, and Elm City Girls Choir in his own massive Credo during a residency at Yale University. This year has also been a big one for Penderecki, starting in January, when he was the focus of the 2010 University of Toronto New Music Festival, which presented 30 of his works, including the North American premiere of Kaddish, a 2009 work for soprano, tenor, speaker, men’s chorus, and orchestra. In February, Penderecki’s music could be heard in the score of the Martin Scorsese thriller Shutter Island, and in April, the composer led the Yale Philharmonia at Carnegie Hall in his own Threnody for the Victims of Hiroshima; Capriccio for Violin and Orchestra; Concerto for Horn and Orchestra (“Winterreise,” U.S. premiere); and Symphony No. 4 (“Adagio”). americanorchestras.org

A jolt of new orchestral music arrives this spring with New York City Ballet’s Architecture of Dance Festival. As part of its May 2-June 27 season at Lincoln Center, the dance company will present world-premiere ballets to NYCB-commissioned scores

by Thierry Escaich, Jay Greenberg, Bruno Moretti, and EsaPekka Salonen. The Salonen Violin Concerto, choreographed by NYCB chief Peter Martins, was co-commissioned by an unusual triumvirate: City Ballet, the Chicago Symphony Orchestra, and the Los Angeles Philharmonic. The NYCB Orchestra will perform Thomas Adès’s Concentric Paths to world-premiere choreography

by Wayne McGregor, and new ballets by Alexei Ratmansky and Christopher Wheeldon will be danced to music of Lalo and Ginastera. The architecture in the festival’s title isn’t metaphoric: architect Santiago Calatrava has created a scenic design for several of the new dances.

Throughout this issue, text marked like this indicates a live link to websites and online resources.

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Quartet Learning

Mark C. Hanson, who has spent the last six and a half years at the administrative helm of the Milwaukee Symphony Orchestra, was tapped for the executive director and CEO post at the Houston Symphony, beginning in May. Prior to Milwaukee, Hanson spent nearly three years as executive director of the Knoxville Symphony Mark C. Hanson Orchestra, and began his career as executive director of the Rockford Symphony Orchestra in Illinois. Hanson is a 1998 graduate of the Orchestra Management Fellowship Program administered by the League of American Orchestras, which awarded him its Helen M. Thompson Award in 2003. A search for Hanson’s successor is underway at the Milwaukee Symphony; serving as interim president and executive director is Donald Tyler.

May 4 – June 20

Bruce Bennett

Houston Taps Hanson

Beginning last November and continuing throughout the school year, the Harrisburg Symphony Orchestra in Pennsylvania has been partnering with the Harrisburg School District to bring the Dalí Quartet to students at SciTech High School. This isn’t a supplementary orchestra program: it’s the only high-school string program within the 10,000-student school district. Nine beginning students have been receiving instruction from the Dalí, an all-Latino string quartet based in Philadelphia, in five in-depth sessions; the idea is that by working with the same group of professional musicians for one year, the students will continue to develop musically and build a relationship with their mentors. 93 percent of the students in the school district live at or below poverty level; one of the project’s primary goals is boosting academic achievement.

Music teacher Christine Robbins (left) and her Harrisburg SciTech H.S. students work with members of the Dalí Quartet, stationed around the room behind and next to students.

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Harrisburg student violinists Cristina Owen (left) and Jada Hargrove, with Romulo Benavides, first violinist of the Dalí Quartet.

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Orchestra R/Evolution

History tells us that ideas can start a revolution—Orchestra R/Evolution is another step toward the next era for American orchestras.

Orchestra R/Evolution is the League’s newest online initiative: orchestrarevolution.org, which launches on May 17, is envisioned as an open, interactive forum that focuses on the issues that matter to orchestras. Everyone who cares about our field is invited to join in. The site’s inaugural topic, “Revolution or Evolution: How must orchestras change to add greater value to American life?,” opens the door to frank, open discussions about the economy, the importance of our communities, and most notably, the changes going on in our field. The debate culminates on June 16 at the Opening Session of the League’s National Conference, which will be streamed live. The keynote address, Art at the Crossroads, by Ben Cameron (Doris Duke Foundation) will be followed by an interactive Town Hall, moderated by Eric Booth, at which Conference delegates will weigh in with their thoughts, questions, and ideas. Visit orchestrarevolution.org starting on May 17 to join the conversation.

Terje Mikkelsen Conducts

NORWEGIAN Classics

Clem Wehner

Presented under the auspices of

49 Pictures at an Exhibition

This February, the Lawton Philharmonic Orchestra in Oklahoma had an overwhelming response to its “Art Inspired by Music” student project in partnership with nearby Leslie Powell Gallery. CDs featuring Beethoven’s Symphony No. 6 (“Pastoral”) were given to area art teachers, who were instructed to play the work for students—without announcing the title—and have them craft an abstract visual piece in response.

Out of some participating 4,000 students, 49 winners had their works displayed in a special show at Leslie Powell and received tickets to the orchestra’s January 23 concert, which featured the Beethoven symphony. Third-grader Sean Paul Louis’s drawing (pictured) will also be printed in the orchestra’s 2010-11 season program. americanorchestras.org

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in June 2008, at the Walt Disney Concert Hall, Los Angeles Contact me to add a Program by Norwegian Composers to an upcoming season. Request a copy of the Alnaes Symphony #1 and #2 performed by Mr. Mikkelsen and the Latvian National Symphony Orchestra.

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orchestra R/Evolution This year’s Opening Session will be our most exciting in recent memory. Asking the question “Revolution or Evolution: How must orchestras change to add greater value to American life?”, we open the door to frank, open discussions about the state of the economy, the importance of our communities, and most notably, envisioning the future of the field.

Beginning with the keynote address, Art at the Crossroads, from the fiery and charismatic Ben Cameron (Doris Duke Foundation) followed by an interactive Town Hall, moderated by Eric Booth, teaching artist extraordinaire, we invite Conference delegates to weigh in with their thoughts, questions, and ideas. History tells us even the simplest of ideas can start a revolution—Orchestra R/Evolution may be the first step in the next era for American orchestras.

The debate begins on May 17 at orchestrarevolution.org and culminates at the Opening Session on June 16—which for the first time, will be streamed live. One thousand delegates in Atlanta and thousands more around the world will be part of the most invigorating conversation about orchestras in years.

It’s time to take on the future—you just need to be in the room or online.

65th National Conference June 15 – 19, 2010

Come to Atlanta for Conference 2010 and be a part of the conversation.

For more details, please visit americanorchestras.org Hosted by

questions

critical

How Orchestras Innovate Fearless Journeys: Innovation in Five American Orchestras, a new book from the League, reveals the ways orchestras are facing the future by embracing innovation.

M

ost of us would agree that orchestras today can use some fresh thinking about how to deliver on their missions. But how many of us are aware of the unconventional approaches, new business models, new ways of presenting concerts, and new ways of relating to their communities—always with artistic integrity at the core—that are already in play across the field? The League of American Orchestras believes that this is the moment to help orchestras learn about promising innovative practices across the industry and understand the organizational factors that made them a reality. Fearless Journeys: Innovation in Five American Orchestras, a new League book out this May, presents the results of a study we launched in 2008. The study was led

by Dr. Lela Tepavac of Fit Leadership, with input and guidance from a Steering Committee appointed by the League. The orchestras discussed in the study are the Atlanta Symphony Orchestra, Los Angeles Philharmonic, Memphis Symphony Orchestra, Pacific Symphony, and The Saint Paul Chamber Orchestra. The book was edited by Catherine Maciariello.

My gratitude to all for their willing participation and hard work.

The publication is made possible by a generous grant from MetLife Foundation with additional support from the National Endowment for the Arts. Every League member orchestra is receiving a copy, and we will post the entire book on our website.

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Why did we call this book “Fearless” Journeys?

As I think about innovation in orchestras, I’m reminded that there is something wonderfully certain about the way that orchestral concerts are prepared. Musicians resolve technical challenges, finetune coordination and collaboration, and align vision—often in the course of three days and four rehearsals. On the evening of the third day, they turn out an exquisite performance. Mission accomplished! This creation of performances is the absolute

Faced with continuing challenges to their operating models, orchestras are working hard to keep the art alive as a vital component of American society. center of the work of the orchestra organization. Is it any wonder that this field has been fiercely attached to longstanding practices?

The same predictably good outcomes have long held true for orchestras’ operational structures. The modern American orchestra was built on a body of practice that emerged to successfully deliver more and more varied forms of orchestral experiences to a growing audience. The refinement of skills in fundraising and marketing, the building of sizable endowment funds, introduction of new “product lines,” deepening engagement in education—all of these helped to create an infrastructure

Klaus Lucka

by Jesse Rosen

Jesse Rosen, president and CEO, League of American Orchestras

that supported growth, relative stability, significant improvements in compensation and working conditions for large numbers of musicians, and most importantly, more service to American communities.

Yet as this goes to print, many orchestras are struggling. They are buffeted not only by economic turbulence, but also by the accelerating rate and degree of change in technology and in American culture.

Even the orchestra field’s three unwavering values—the commitment to excellence in all areas; the primacy of virtuosic leadership; and the adoption of best practices—no longer are enough to sustain many orchestras as they confront the enormity of change in the environment.

This is why orchestras have—sometimes reluctantly—turned to innovation.

Today, experimentation and change are no longer organizational rarities among orchestras. Of the many fine examples of promising innovative strategies, we chose five that represent the diversity of size, geography, and approach that characterizes American orchestras today. In the sixth chapter our researcher captures the commonalities among them to reveal a new organizational and leadership model for orchestras.

No one is claiming that these innovative strategies are a silver bullet; in fact, some of the orchestras in this book consymphony

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fearless journeys: innovation in five american orchestras

Foreword from Fearless Journeys: Innovation in Five American Orchestras

fearless journeys: innovation in five american orchestras

ons

pants, can ires anding or t of a age to ”

Edited by Catherine Maciariello

league of american orchestras

olicy

By Lela Tepavac, Ph.D.

A publication of

Made possible by

The front cover of Fearless Journeys: Innovation in Five American Orchestras was designed by Kim Bieler of Apt Media to suggest that orchestras are charting new courses.

tinue to confront major challenges despite their good work. Rather, “promising innovation” in this context is defined as new practice that helps orchestras continue to fulfill their missions amid the reality of shifting environments, and enables them to be more flexible in adapting to change.

In the book’s Foreword, editor Catherine Maciariello provides the general outlines of the study—its intention and scope, the basics of the research process—and explains how the term “innovative” was defined for the purposes of the project. The Foreword also summarizes some fascinating conclusions about common factors that enable innovation to take hold in orchestras, and raises questions about how these locally americanorchestras.org

appropriate initiatives might apply elsewhere. The Foreword is reproduced below.

Please let me know what you think.

The League of American Orchestras views this book as a beginning. We hope that it will encourage all orchestras and their stakeholders to reflect on their own capacity for innovation, and to pursue it at all levels of organizational activity. It is also a call to action. It is time to accelerate the recognition that orchestras must embrace innovation if they are to continue offering exciting musical experiences that are vital to American life.

Jesse Rosen President and CEO League of American Orchestras

American orchestras have long defied predictions of their imminent demise. They have consistently met difficult challenges with creative leadership, successfully managed their complex institutions, and developed new sources of revenue to sustain their business models. This problemsolving journey has taken the field in rich new directions in recent years as orchestras across the country have accelerated their efforts to test new approaches and explore unconventional ideas.

Orchestras arguably have never needed this new thinking more than they do today. Faced with continuing challenges to their operating models, they are working hard to keep the art alive as a vital component of American society. In 2006 the League of American Orchestras committed to help orchestras build their capacity for innovation, as part of a strategic plan that also called for driving research and development and fostering the exchange of ideas across the field. In 2008 the League initiated a study, funded by the MetLife Foundation, to explore and document promising innovation in American orchestras. The purpose of this research was to understand the organizational enablers that underpin such innovation and stimulate the sharing of best practices across the industry. The League appointed a Steering Committee from the field to oversee the study and provide guidance to consultants.

Research Process

The principal investigator for the study was Dr. Lela Tepavac of Fit Leadership LLC. An organizational psychologist, Dr. Tepavac created a conceptual framework for the research based on a review of existing innovation literature, her knowledge of innovation models in other industries, and interviews with fifteen experts in the orchestra field. She developed a working definition of innovation in orchestras and identified initial innovation criteria. Concurrently, the League administered a short survey to member orchestras, asking them

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to list and evaluate their innovative activities across a variety of areas. From among the 150 responses, the League and project Steering Committee selected five orchestras to participate in the innovation study.

Researchers visited all five orchestras in March and April 2009. Using the innovation model and data collection tools developed by Dr. Tepavac, they interviewed approximately 20 people from each orchestra, and a total of 94 people across the entire cohort. Included in these interviews were CEOs, music directors, board members, musicians, staff, external collaborators, consultants, and community stakeholders. The interview questions varied across participant groups, depending on their roles and responsibilities with regard to innovation activity within the organization. Researchers used the interview process to document the emergence and implementation of innovation within the organization, critical success factors, impact, lessons learned, and future plans, along with orchestra history and context.

They also conducted several focus groups with musicians, staff members, and community representatives.

The researchers then analyzed the interview material using a specialized computer application for processing qualitative data. They created a case study framework to organize the vast amounts of information, and drafted case studies based on the qualitative data analysis. A member of the Steering Committee served as the first reader for each case study. Once this initial process was complete, the orchestras reviewed final drafts for clarity and accuracy. The overall analysis, as well as the distillation of lessons learned from the five case studies, was a collaborative effort between the researchers and the League.

What constitutes innovation in an orchestra?

Innovation in today’s orchestras is characterized by aggressive questioning of long-held orthodoxies and traditions and the emergence of new approaches to all aspects of the traditional orchestra model.

According to Dr. Tepavac, innovation in orchestras refers to purpose-driven and

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context-based activities or processes that, following new pathways, transform the orchestra in ways that create sustainable value, inspire and engage internal and external constituents, and respond to the needs of current and future audiences.

There are many examples of extraordinary leadership and innovation among America’s orchestras. Fearless Journeys tells the stories of five of these orchestras and their quest for renewal through innovation. Their annual budgets range from $5 million to $95 million. Their characteristics, operating models, geographical

its artistic leadership model, vesting decision-making power in musicians and replacing the music director with a rotating team of Artistic Partners. When the Memphis Symphony Orchestra lost its audience and revenue base, it came face to face with its growing irrelevance in a community that did not care whether the orchestra lived or died. Embracing a new mission of public citizenship, the orchestra began building artistically engaging community partnerships, using musicians’ artistic talents and leadership to serve community needs.

“Promising innovation” is defined as new practice that helps orchestras continue to fulfill their missions amid shifting environments, and enables them to be more flexible. settings and cultural environments are as varied as their challenges. But one thing is constant among them: the fundamental belief that business as usual will not take them where they want to go.

Pacific Symphony operates in a fastgrowing decentralized metropolitan area not far from Los Angeles, where Western classical music traditions are increasingly unfamiliar. In response, the orchestra developed new approaches to contextualizing music, making deep cultural connections with its community. Faced with financial challenges and widespread disaffection among its constituents, the Atlanta Symphony Orchestra focused on a cross-constituent approach to building a collaborative organizational culture that eliminates silos and increases synergy. The opening of Walt Disney Concert Hall provided leverage for the Los Angeles Philharmonic to open its “high art” doors to a wider public, focusing on the powerful role of contemporary music and creative interdisciplinary projects. Looking to link its identity to clear chamber-orchestra values and to build its reputation as an ensemble of chamber musicians, the Saint Paul Chamber Orchestra changed

A diagram from the final chapter of Fearless Journeys explains that the structure of innovation is consistent among the five orchestras studied. Leadership and vision give shape, protection, and safety to groundbreaking work. An open artistic model, prolific partnerships, and effective integration act as supporting pillars. Underlying and sustaining it all is a foundation of artistic excellence that provides the fundamental strength to think and behave in new ways.

The experiences of these five orchestras demonstrate that an activity is truly innovative if it is:

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Meaningful. Does it have a purpose and objective? Does it illuminate an issue or suggest a novel approach?

Does it address one of the key areas that affect the orchestra’s well-being, i.e. artistic product, community engagement, organizational capacity, etc.? Does it change fundamental assumptions and practice? Does it generate positive response from the audience? Does it generate enthusisymphony

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contents asm among organizational constituents? Does it generate interest in the field?

•

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Effective. Does it solve the problem or answer the need it was designed to address? Does it stimulate creativity and increase capacity within the organization? Does it help attract top talent and facilitate access to resources (time, money, staff )? Does it focus on new prospects/patrons who are not already committed to the art form? Does it keep traditional subscribers and patrons loyal and engaged? Does it produce revenue?

Does it enhance audience demographics?

Sustainable. Can the method or activity be replicated? Is it adaptable?

Does it perpetuate a culture open to novel solutions and approaches? Does it build the infrastructure required to support innovative activity and process, including broad ownership among constituents? Does it provide a framework for evaluating impact and making decisions? Does it capture lessons learned and turn them into institutional knowledge that enhances skills and capabilities? Does it enable a cycle of continuing investment in innovative activity? Does it generate ongoing support from the organization’s leadership and Board?

Innovation in today’s orchestras is characterized by aggressive questioning of long-held orthodoxies and traditions and the emergence of new approaches to all aspects of the traditional orchestra model.

americanorchestras.org

6 Preface: Why “Fearless” Journeys?

7 Foreword Case Studies

12 Los Angeles Philharmonic For the People: Democratizing Artistic Vision

26 Memphis Symphony Orchestra Service to Citizenship: Building Artistically Engaging Community Partnerships

40 Pacific Symphony

efforts. They were successful because they occurred at the right time in the life of the orchestra, because they emerged naturally from the context in which the orchestra was operating, and because they reflected consensus within the organization rather than being imposed arbitrarily. Solutions were individualized, and they made sense for the orchestra in its time and place.

In all the orchestras studied, innovation consistently was

•

inspired and led by a committed and courageous team of leaders.

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driven by an expansive vision that was well articulated and communicated internally and externally.

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fueled by an open artistic model. In some cases, the open artistic model took form as a new way of making artistic decisions. In others it was a redefinition of what should be included in the orchestra’s standard programming. In still others it emerged as a new understanding of how artistic talents could be deployed differently. In every case, however, the key was that artistic issues were fueling the discussions, and they were being examined in new and interesting ways.

What do innovative orchestras have in common?

The immediate impetus for change in all five orchestras studied was some form of crisis. Financial difficulties, leadership transitions, a poorly defined artistic identity, declining audiences, community apathy, and prolonged labor disputes are examples of conditions that inspired innovation in these orchestras. The changes developed organically, as a result of specific events, with all participants thinking through next steps and capturing the lessons learned along the way. Yet these innovations created far greater strategic and transformational impact than typical incremental

5 About the Author

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coordinated by someone filling an explicitly identified integrator role.

Having someone clearly responsible for keeping parallel activities on track and for managing the complex relationship dynamics of the work was critical to ensuring communication and maintaining momentum.

Illuminating Meaning: Putting Music in Context

56 The Saint Paul Chamber Orchestra To Boldly Go: Creating a New Artistic Leadership Model

72 Atlanta Symphony Orchestra From Silos to Synergy: Building a Collaborative Organizational Culture

86 The Road Less Traveled: Toward a New Foundation 96 Acknowledgements 98 Photographer credits

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based on a strong foundation of artistic excellence. Technical performance and the quality of concerts are generally high throughout the industry, and the fear of compromising quality by changing conventional practices is deeply ingrained. But these five orchestras forged new ground. Liberated by the security of their artistic strength rather than constrained by the fear of losing it, these pioneers showed that innovation is indeed the friend of artistic excellence.

The stories of these five orchestras are meant to illuminate possibilities, inspire curiosity, raise questions, and provoke discussion both among orchestras and between orchestras and their communities and stakeholders. Together they form an exciting new paradigm for American orchestras’ journey toward a more vital and vibrant future.

Got an opinion? Join the discussion!

Are the innovative practices documented in this new book widely applicable at orchestras? What might work for your orchestra—and what might not?

Click the Discussions tab below to comment.

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Currents

Say You Want a Revolution What if classical music had a 1960s-style revolution? In an essay based on themes from his forthcoming book, Rebirth: The Future of Classical Music, Greg Sandow looks at where classical music is now, and proposes some new directions.

H

ere’s a paradox. There’s an important book that anyone interested in the evolution of classical music should read—and it doesn’t mention classical music at all.

This is Pictures at a Revolution, a study

by Mark Harris about a 1960s upheaval in Hollywood, published in 2008 to great acclaim. And yes, the title is of course a classical music reference, a play on the Mussorgsky piece all of us know. But any overt mention to classical music stops right there. So what could the classical music connection be? What can Mark Harris teach us about changes—positive changes, changes that might bring us vibrant growth—that we could make in classical music right now?

Harris starts in 1963, with a magazine art director in New York who slips away from his desk and heads off to a movie theater to see (for what might have been the twelfth time) François Truffaut’s film Jules et Jim. The film is now a classic, but in those days played only to a cult audience.

Now move ahead a bit. The cult audience grows. The art director mad about Truffaut—collaborating with a friend equally obsessed with European films—writes the screenplay for Bonnie and Clyde, another movie we might take for granted today, but which when it was released in 1967 was an astonishment, a shock, a surprise—a breakthrough film that brought the emotional ambiguity and grown-up sexuality of European mov-

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ies to Hollywood. It gets a dozen Oscar nominations, and a revolution breaks out.

Other films influenced by Europe (The Graduate, for instance) are released. A new breed of moviegoer—young, informal, very ’60s—lines up to see these new films.

The New York Times fires its film critic, because he doesn’t understand the new style.

Classical music never had a ’60s revolution. You’d think we turned our backs on the rest of the world on purpose.

Time magazine pans Bonnie and Clyde, and then retracts its review, declaring that it had not just been wrong, but drastically wrong.

So what’s the classical music connection? It’s that classical music never had a ’60s revolution—the kind that happened not only in the movies but also in pop music, painting, politics, race relations, and endless other areas of life. Our world changed forever, becoming freer, more informal, more creative, more spontaneous.

But in classical music we went on playing Bach and Beethoven. And wearing formal dress. You’d think we turned our backs on the rest of the world on purpose.

Of course we changed in some ways.

The early-music movement grew, bringing with it changes that might not mean much to the world outside, but mean a lot to specialists. Some mainstream orchestras now play Bach without vibrato. Mahler symphonies joined (or rejoined) the repertoire, maybe echoing the ’60s, since

Mahler, with his wild, uneasy yearning for transcendence, is almost psychedelic.

But even these incremental changes kept classical music largely focused on the past, on composers from the past, traditions from the past, and behavior and emotions from the past.

This isn’t to say we shouldn’t play Brahms and Beethoven, that their music (along with all the great past masterworks) shouldn’t be preserved. But look what happened to museums. They preserve the past, but they had a revolution of their own, and joined our changing culture. The Metropolitan Museum of Art, for example, has a costume collection, established, as it happens, before the 1960s. Now it focuses on fashion, and not long ago had a show on the influence of superhero costumes on top designers. This was featured on the Met’s website as one of the top three attractions at the museum—right next to Raphael and an exhibit of works by the very sexual

Mark Harris’s book Pictures at a Revolution examines how Hollywood embraced the cultural revolutions of the 1960s—and revived an industry that seemed out of touch.

symphony

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contemporary artist Jeff Koons.

Can we imagine any major orchestra doing the musical equivalent of shows like that?

Now let’s imagine that things had turned out differently. Suppose the movies hadn’t had their revolution. Suppose that when the Oscars came around, the winners were old-style musicals like The Sound of Music instead of taut, truthful films like The Hurt Locker. Maybe then the movie audience would in large part be older people—just like the classical music audience.

And what if classical music really had a ’60s revolution? Would Brahms and Beethoven now share the concert stage— on an equal basis—with lively, sometimes searing, and sometimes wildly popular contemporary works?

And would our audience now be young?

Many of us think that the classical music audience always has been old. And so it may well be a shock to learn that this isn’t true. Certainly it was a shock to me. One day some years ago I was browsing in the library at The Juilliard School, where I’m on the Graduate Studies faculty teaching courses about music criticism and about the future of classical music. On one shelf I saw a book entitled America’s Symphony Orchestras and How They Are Supported. I was fascinated. Here, I thought, would be data on how orchestras functioned many years ago.

The book, written by Margaret Grant and Herman S. Hettinger, was published in 1940, and in it I found the results of a 1937 study of American orchestras. The orchestral audience, Grant and Hettinger explained, hadn’t been a focus of that study, but, even so, audience surveys had been conducted at concerts by the Los Angeles Philharmonic and the Grand Rapids (Michigan) Symphony. The audience in Los Angeles had a median age of 33, while in Grand Rapids the median age was 28.

I was astounded. Like so many others, I’d thought the orchestra audience always was old. Could I trust these surveys?

One thing struck me. The authors, recounting their results, didn’t seem americanorchestras.org

surprised. They talked about the young audience calmly, as if this was what they themselves were seeing when they went to concerts.

Later I found other studies saying the same thing. The archivist of the Minnesota Orchestra showed me an unpublished survey done in 1955, when the institution called itself the Minneapolis Symphony.

Half the audience back then, the study said, was under 35. And in a pioneering 1966 book by William J. Baumol and William G. Bowen, Performing Arts: The Economic Dilemma, I found data from the 1960s showing that the audience in those years—in every field of the performing arts—had a median age of 38. Baumol and Bowen note, with some interest, that people apparently stopped going to performing arts events as they aged—the opposite of what might be expected now.

You can find links to scans of portions of these studies, on a page on my blog site.

Many of us think that the classical music audience always has been old. And so it may well be a shock to learn that this isn’t true.

The truth seems inescapable: the classical music audience used to be quite young. A sociologist friend showed me studies he’d collected from the 1970s, which show the audience growing older. (These studies come from various regions of the U.S., and now are out of print.) And in 1982 the National Endowment for the Arts began to track all of this, recording the aging of our audience from the ’80s to the present day.

Why has our audience aged so greatly?

My Generation

The aging audience reflects a growing gap between classical music and the rest of our culture. Younger people find that classical music doesn’t reflect the world they see around them. And I don’t mean only the simpler aspects of their world, things like hit TV shows and chart-topping pop music. I mean that it barely reflects current culture at all, including serious current

The BBC series Maestro, homepage shown here, was a reality show on which celebrities competed to become orchestral conductors.

Despite an overexcited tone typical of reality shows, the series made classical music up close and personal for millions of viewers.

art (which includes a lot of serious pop music) and serious current thought.

Here’s what I mean. You go to a classical concert, and—if you know the music well, or read the program notes—you find yourself contemplating what Berlioz might have learned from Beethoven.

Or, if the Pastoral Symphony is being played, how peasants in Beethoven’s time were frightened by storms. You sink into the culture of the past. Younger people might not find that gripping. Older people, on the other hand, started coming to classical concerts when Beethoven, Berlioz, and storm-fearing peasants mattered to many more people. They’re used to thinking like this.

In the ’60s, most of our population had The most recent Survey of Public Participation in the Arts from the National Endowment for the Arts indicates that orchestra audiences are both aging and shrinking as a percentage of the country’s population—a decline shared by all the performing arts. The League of American Orchestas’ Audiences Demographic Research Review revealed similar findings, employing different research methods.

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George Lange

grown up in the old culture. People of all ages went to classical concerts. Flash forward a decade or two, and many people who are now adults grew up after the ’60s, after our culture decisively changed. To these people, the culture of classical music didn’t make much sense. And the NEA data reflects this. In the ’80s and ’90s, people born in the ’60s stopped going to classical concerts. Flash forward again, and still more of our population falls into the new camp. And more of the classical audience—since not many new people are now coming into it—is older.

This doesn’t bode well for our future, as the latest NEA Survey of Public Participation in the Arts and the League of American Orchestras’ Audience Demographic Research Review, both released in 2009, very clearly show. The percentage of adult Americans who go to classical performances has fallen nearly 30 percent since 1982—except, that is, for people 65 and above, who were already in their twenties when the ’60s cultural revolution hit. But not just our numbers are threatened. It’s not just that our audience very likely will shrink. What’s worse is that classical music—as it recedes from our culture—doesn’t seem much like art. Art, to quote James Joyce, forges the uncreated conscience of our race. It mirrors, nurtures, and helps to explain the blending—and clashing—of the outside world with all that’s within us.

It tells us, very deeply, who we are.

But how can it do that if it’s cut off from the present day? Yes, there’s contemporary classical music, but how large a part does it play in our concert life?

Compare serious theater companies, half of whose productions are by living playwrights. Go to the theater and very likely you encounter the world that’s around us.

Go to a classical concert and—you don’t.

People outside the classical world can be forgiven for asking themselves if we’re offering art or only nostalgia.

So what can we do about this? Music education, which we’d all love to see restored, can’t be the answer. Kids will learn about classical music. Maybe they’ll play it, maybe some of them will love it. But when they get older, the culture gap will

The 2004 documentary film Music from the Inside Out reveals the richly varied lives of Philadelphia Orchestra musicians. In the film, violist David Nicastro poses with two favorite possessions: viola bow and motorcycle.

hit, and—no matter how much they loved playing Bach when they were twelve— they’ll keep their distance from classical concerts.

And we ought to want more than that.

Why should we only initiate people into the classical music world that we know now? Why don’t we change the whole

How could classical music evolve into a world in which people listen to Mozart as avidly as they read Jane Austen, where Mozart takes his place alongside contemporary work? game? Why not try for a new, up-to-date revival of long-past days when, in the 1920s, teenage girls lined up at the stage door of the Metropolitan Opera to swoon over Geraldine Farrar, a gorgeous soprano and silent-film star? Why not, in some contemporary way, bring back the 1940s, when the NBC network established an orchestra for Toscanini and broadcast its concerts on radio and later on TV? Or the ’50s, when college kids, sitting outside in the spring, jumped up and ran to a concert hall when they were told that Jascha Heifetz was going to play? Or we could try to bring back 1962, when Life—then the most popular magazine in America—

commissioned Copland to write a piano piece and printed it for pianists to play.

Classical music needs to have its longdelayed ’60s revolution, or a contemporary equivalent of it. How could we evolve into a bright new world in which people listen to Mozart as avidly as they read Jane Austen, where Mozart takes his place alongside vibrant, exciting—even popular—contemporary work?

New World Order

The good news is that this revolution has already begun. The classical music world has been changing, faster and more thoroughly than anyone yet has catalogued, though the changes haven’t always reached flagship classical music institutions. But I’ve seen, in New York at least, concerts where thousands of younger people flock to hear new classical music—for instance, the annual Bang on a Can Marathon, which runs all day and sometimes all night, and the Wordless Music series, which typically mixes classical music with indie rock. Younger classical composers write music in which pop and classical blend, mirroring the taste of other people their age who no longer draw a line between high art and popular culture. Nico Muhly is one lively and successful example, with commissions including one from the Metropolitan Opera. The Chicago Symphony Orchessymphony

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George Lange

We can bring our audience into the artistic conversation.

We can invite them to react, to debate our performances right on our websites. We might even dare to try something shocking.

The documentary film Music from the Inside Out tracks Philadelphia Orchestra Principal Trombone Nitzan Haroz, who also performs salsa music at a nightclub.

tra recently appointed two artists of this kind, Mason Bates and Anna Clyne, as composers in residence. At the National Orchestral Institute at the University of Maryland, student musicians are put in charge of a summertime concert and— alongside serious contemporary pieces— play rock arrangements and improvisations, things that could easily attract an audience their own age.

And in Britain, two years ago, the BBC launched Maestro, a much talked-about reality show on which celebrities competed to become conductors. Yes, it was full of dumb jokes, but it radiated love for classical music, and the judges—including two famous conductors, Sir Roger Norrington and Simone Young—were serious people. From their critiques of the contestants, even people new to classical music could learn more about conducting than they ever would from more formal symphonic telecasts.

In localities seemingly everywhere— London, Boston, Austin, you name it— classical musicians are playing in clubs, often in new and intensely personal ways.

In Denver, for instance, a group called Telling Stories mixes chamber music with literary readings of stories and poems americanorchestras.org

written by the musicians themselves.

So how can orchestras be part of this?

Simply, I think, by joining in. If one legacy of the ’60s revolution was to tear down walls, then why not invite amateur musicians to sit in with your orchestra, as the Baltimore Symphony Orchestra did this past February, with spectacular success?

Why not invite members of the audience to sit onstage with the musicians, as the River Oaks Chamber Orchestra has done in Houston?

The principal trombonist of the Philadelphia Orchestra—as we know from Music from the Inside Out, the 2004 documentary film about the orchestra’s musicians—plays in a salsa band. Why not invite his band to open for the orchestra at a subscription concert in Verizon Hall?

Same with the University of Maryland violist I know, whose band plays mash-ups of Vivaldi and hip-hop. Why shouldn’t she open for the orchestra at her school?

Why not commission a composer to create a piece like Britten’s Noye’s Fludde, an opera he wrote for an entire town to perform? Britten included parts for a handbell choir and for beginning violinists, who play only on open strings. Today, I think, we’d include those violinists, but also local cabaret singers, heavy-metal bands, early-music groups, and kids doing wonders with laptops and iPods, creating electronic sounds.

When we play Brahms, why not bring his symphonies alive by having orchestra musicians tell the world—in personal, even intimate terms—what those symphonies mean to them? In my Juilliard course on the future of classical music, I ask students to do this with pieces they’re playing. One violist gave us all goose bumps when—in a heartfelt voice— she told us how the beauty of the slow

movement of Beethoven’s Op. 74 String Quartet had brought together warring members of a quartet that she played in.

Or conductors might speak; some already do. A world-famous conductor once told me backstage how hard he’d tried to perfect his performance of the Symphonie fantastique. Finally, on that very night, everything had worked. Suppose he shared that with his audience—and even, again in the spirit of breaking down walls, announced in advance which passages were hardest for him to perfect. If he’d done that, everyone at his concerts might sit on the edge of their seats, eager to hear if those passages came out right.

We can bring our audience into the artistic conversation. We can invite them to react, to debate our performances right on our websites. We might even dare to try something shocking, though it wouldn’t be shocking in many other fields. Let people—again on our websites—remix classical pieces, forge creative or even outlandish mash-ups of orchestral performances, including maybe those your orchestra gave just last week. (Put aside, for the moment, questions of rights.) Then play the mashups right alongside the originals!

Would these things rob classical music of all its dignity? Instead we should ask what our idea of dignity means. Does it serve, in the world we have now, to magnify our music? Or does it keep people away, setting up barriers between the world outside and the deepest meaning of the art that we love?

GREG SANDOW is a composer, writer, and consultant who works on projects about the future of classical music. He’s a member of the Graduate Studies faculty at Juilliard, and is artist in residence at the University of Maryland, where he’s helping music students develop concerts that will reach audiences their own age.

Got an opinion? Join the discussion!

Should orchestras shift and change to stay in tune with the times? Or should they stick with the tried and true?

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Campaign For A New Direction The Campaign for a New Direction is the League of American Orchestras’ $25 million, five-year, comprehensive campaign, which is funding the new and ongoing programs and services set forth in its visionary Strategic Plan. Now in its fourth year, the Campaign has received over $22.4 million – 89% of the Campaign goal.

All of us at the League of American Orchestras are extremely grateful to the following individuals for their generous Campaign support: Christopher Seton Abele, on behalf of the Argosy Foundation Douglas W. Adams W. Randolph Adams Nancy & Ellsworth Alvord, Jr., M.D. Alberta Arthurs Brent & Jan Assink Audrey G. Baird Elena Bales & Steven Bronfenbrenner Allison Ball Jennifer B. Barlament Lisa & Miles Barr Cecilia Benner Marie-Hélène Bernard Andrew Berryhill & Melinda Appold William P. Blair III Nancy Blaugrund Richard J. Bogomolny Fred & Liz Bronstein Dr. & Mrs. Malcolm Brown Wayne S. Brown & Brenda E. Kee Trish Bryan Michelle Miller Burns & Gary W. Burns Frank Byrne Catherine M. Cahill Andrew K. Cahoon & Erin R. Freeman John & Janet Canning Katherine Carleton Nicky B. Carpenter Judy Christl Richard & Kay Fredericks Cisek Katy Clark Melanie Clarke

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Joseph B. Glossberg & Madeleine Condit Glossberg Marian A. Godfrey John & Marcia Goldman Foundation Kathie & Ken Goode The Phoebe W. Haas Charitable Trust A as recommended by Carole Haas Gravagno Erica F. Hansen Gary Hanson & Barbara Klante Mark & Christina Hanson Daniel & Barbara Hart Jeffrey P. Haydon Shirley Bush Helzberg Jeanne & Gary Herberger Cristina & Carlos Herrera Jennifer Higdon & Cheryl Lawson Lauri & Paul Hogle Mr. & Mrs. Michael J. Horvitz Holly H. Hudak Mrs. Martha R. Ingram Kendra Whitlock Ingram James D. Ireland III James M. Johnson Russell Jones Loretta Julian Polly Kahn Atul R. Kanagat The Joseph P. & Nancy F. Keithley Foundation Gloria S. Kim Joseph H. Kluger Catherine & John Koten Judith Kurnick

Help ensure the future of orchestras by taking action now!

Please join us in the Campaign for a New Direction by contacting Caroline Wolf, Interim Vice President for Development, at 646 822 4009 or cwolf@americanorchestras.org.

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Double bassist Laura Ruas, who teaches to supplement her income, helps Owen Shaw, a student at Baltimore School for the Arts, tune his bass before a recital.

Paid to How are freelance orchestral musicians coping with the current economic downturn?

by Ian VanderMeulen

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symphony

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through this and see how they wind up on the other side.”

In fact, these freelancers are doing much more than treading water. Though a certain amount of belt-tightening may be necessary at times, these wandering ronin have taken matters into their own hands, diversifying their schedules, finding—or even forming—new groups, and maintaining faith that, if they stick to their guns long enough, the economy will eventually turn around.

Signs of the Times

For Ruas, indications of cutting back in Baltimore preceded the recession. The Baltimore Opera had increased its number of productions per season from four, when she joined in the late 1990s, to five, and then scaled back to four in the aftermath of 9/11. The number of performances of each opera was also cut, from six to five.

Play americanorchestras.org

Tal Skloot, Tritonefilms

“When you close a door, sometimes you open a window,” says Laura Ruas. The 45-year-old double bassist is a regular performer with the Baltimore Chamber Orchestra, Concert Artists of Baltimore, and, until it closed up shop recently, the Baltimore Opera. To make up for fewer services at all of her ensembles, Ruas has taken on increased teaching duties at a handful of Baltimore-based colleges and music schools, and found financial benefits—as well as new job satisfaction.

That musicians have been sharing in orchestras’ financial struggles during the recession is not news. In September, Colorado Symphony Orchestra musicians agreed to a 12.5 percent pay cut and four weeks of unpaid leave. In October, musicians of the Utah Symphony made a variety of concessions that amounted to 19 percent of their total salary and benefits. In March, Columbus (Ohio) Symphony Orchestra musicians agreed to a 23 percent pay cut, saving the organization $1.1 million. In late March, musicians of the Baltimore Symphony Orchestra, who in July had already taken a 12.5 percent cut for the 2009-10 season, accepted a pay freeze for 201011 and an additional 16.6 percent cut for 2011-12 and 2012-13, showing solidar-

Tal Skloot, Tritonefilms

Karl Merton Ferron/Baltimore Sun

Bay Area trumpet player Kale Cumings

ity with administrators and Music Director Marin Alsop—all of whom had taken pay cuts. Listing all the sacrifices salaried players have made to keep their orchestras afloat could easily fill a page.

But these musicians are only a small fraction of those who make up rosters at America’s orchestras. In its most recent Orchestra Statistical Report (OSR), the League of American Orchestras surveyed 96 orchestras from its five smallest budget groups, which make up 85 percent of its total membership. All but seven paid their entire roster by the service, meaning the vast majority of these musicians must piece together a living by playing for multiple orchestras, subbing in larger ensembles, or doing non-classical work like Broadway shows or commercial jingles. For Ruas, bassoonist Karla Eckholm, trumpeter Kale Cumings, and violinists Wende Namkung, Karen Shinozaki, and Robin Zeh, this juggling act is a daily reality. But as per-service orchestras cut performances, rehearsals, or ensemble size in order to stay afloat, the freelancers who depend on those services are feeling the squeeze.

“Everything’s cut down,” Ruas says, “and you kind of feel like everyone’s just treading water at this point to try to get

Road warriors: Bay Area freelancers and stars of Tal Skloot’s film Freeway Philharmonic. Left to right: Bassoonist Karla Ekholm, French hornist Meredith Brown, trombonist Bruce Chrisp, violinist Karen Shinozaki, and cellist Robin Bonnell.

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Then the recession of late 2008 hit. “We The San Francisco Bay did the first two operas of the 2008-09 Area carries a different vibe season,” she recalls. “At the second opera than eastern cities like Balt­ we started to hear whispers that something imore or New York, though was up. A few months later they folded.” musicians have seen simiMeanwhile, her other main employers, the lar losses in work. Here, Baltimore Chamber Orchestra and Confreelancers piece together a cert Artists of Baltimore, were essentially living by playing in a handset with their seasons. But as announceful of per-service orchestras ments for their 2009-10 seasons rolled out, across a wider geographiConcert Artists musicians agreed to take a cal area, stretching from pay cut, and the BCO would be doing one the Monterey Symphony less concert series. northward to the SacraRuas’s description of the Baltimore Opmento Philharmonic—even era’s pre-downturn financial difficulties as far as Reno, Nevada. points to a trend many performing arts When local filmmaker Tal professionals have long suspected: that Skloot decided to make those orchestras not on sound financial a documentary following footing to begin with will be the hardest seven such musicians—inhit when the economy takes a dive. Kale cluding Cumings, Ekholm, Cumings plays trumpet for the Santa Rosa and Shinozaki—he titled Symphony while also serving on its board. it Freeway Philharmonic, a He notes that, aside from a little trimming nod to the amount of time around the edges, the group has remained these musicians spend trastable thanks in large part to the finanversing Northern Califorcial prowess of the current management nia’s highway system. team, many of whom arrived before the Members of the “Freerecession. But as an artist, Cumings also way Philharmonic” have expresses a certain reservation about the not escaped the financial challenge of balancing fiscal responsibility slump of one of the counwith the presentation of great art. “I think try’s hardest-hit states. as long as it is tied into capitalist culture— Violinist Karen Shinoas long as it must cater to popular taste— zaki, a regular performer art will suffer,” says Cumings. with the Marin Symphony, When orchestras are forced to cut, the Santa Rosa Symphony, and aim is typically to do so without diminishNew Century Chamber Bay area freelance musician Karla Ekholm ing artistic quality. A common solution Orchestra, and occasional is to slightly shrink the size of the performer with the decrease in those types of gigs. ensemble. Often, the first to bite The San San Francisco Chamber OrchesWhile thrilled to have a paying gig, the bullet are the wind players, an Francisco tra, notes that all her ensembles— those musicians who are engaged for a givexperience that Bay Area-based bas- Bay Area with the exception of New Centuen program still feel the strain of shortened soonist Karla Ekholm describes in carries a ry—have cut back in small ways. rehearsal time and diminished ensemble an email message. “The two cham- different “I’ve noticed there will be more of size. Robin Zeh, a New York-based violinber orchestras I play in—the San vibe than a scaled-down string section for ist who plays regularly with the American Francisco Chamber Orchestra and eastern some concerts,” she observes, “or Ballet Theater orchestra, Orchestra of St. Pacific Chamber Symphony—have cities like string rehearsal instead of full orLuke’s, and New York City’s Riverside cut back by using more of a core Balt­imore or chestra.” Freelancers can also lose Symphony, points out that the latter of the orchestra that eliminates winds on New York, significant income when larger orthree is an orchestra of four first violins, many sets,” she wrote. “Between though chestras downsize their programs, four seconds, three violas, and three celli— the two orchestras I am only play- musicians from, say, Respighi’s Pines of Rome, a bare-bones setup by many standards. ing three sets total this season.” have seen which requires significant offstage “We’re working harder,” she says. “In the Ruas confirms similar scenarios at similar brass, to a Beethoven symphony, fall, we did Bartók’s Music for Strings, Pertwo of her ensembles: the Baltimore losses in which typically features a smaller cussion and Celesta—which is supposed to Chamber Orchestra and Concert work. brass section. Cumings, at one be two full string orchestras—with one Artists of Baltimore had both done time frequently engaged by the on a part. It was like a dectet—and it was strings-only programs within a few San Francisco Symphony for such so hard! One of the first things that hapweeks of our interview. programs, has noticed a definite

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Susan Farley/Westchester Philharmonic

musicians taking less time off, for pened—and is still happening—is “There are one thing. But he also recalls a situathe number of rehearsals shrinks. certain And the Riverside Symphony is re- categories tion where he had to fill an eighteenmember pit for a Broadway show. “I ally good, but two, two-and-a-half that I made nineteen phone calls,” he says. rehearsals for a full symphony— put work “The fact that things have gotten that really hurts.” Wende Nam- into,” says to the point where people want the kung, a regular performer with the violinist work so badly that you only need to American Symphony Orchestra Wende call the number of players you need and Westchester Philharmonic, Namkung. for the job is scary.” agrees. “There’s also a feeling of, “There’s you’ve got to work while the work work that is there because you never know you can Stayin’ Alive what’s going to happen,” she says. count on It’s important—in good times and Those who hire musicians are see- because bad—for freelance musicians to stay ing the same thing. Jim Neglia, per- it’s already proactive. Zeh explains how this is sonnel manager for the New Jersey offered to especially the case with regard to Symphony Orchestra, has engaged you.”

Broadway gigs. “When you sub, if both Namkung and Zeh as subyou say ‘no’ a few times you kind of stitutes for that ensemble. He has noticed fall off the radar,” Zeh says. “Every now changing behavior in freelancers there and and then I get the reputation that I’m too as a frequent contractor for Broadway shows busy and then people don’t want me. But and other music projects that use New York I’m not always busy. For example, Septemfreelancers. Recently he has observed NJSO ber is a slow month, so that’s a good time to send out some emails to colleagues, just to say, ‘Hey, I’m around.’ ” Namkung acknowledges this can happen, but says that after years of developing a reputation on the New York scene, going out of her way to find work isn’t always necessary. “There are certain categories that I put work into,” Namkung says. “There’s work that you can count on because it’s already offered to you. Then there’s work that’s fairly consistent because you’re high on the list. And then there’s work that you have to regard as extra, as sort of a gift.”

Sometimes, this extra work can come unexpectedly, turning what seemed like a dry spell into a busy week.

Ruas certainly had a bit of a run of luck as the recession arrived. She admits that

Violinist Wende Namkung performs regularly with the American Symphony Orchestra and the Westchester Philharmonic in the New York City area.

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The League recognizes and thanks the Volunteer Council and Sustainers for their longtime support of the Annual Fund, the Campaign for a New Direction, and National Conference, and in particular, for their countless hours providing assistance to volunteers in the orchestra field.

Violinist Robin Zeh backstage following her performance of Beethoven’s Violin Concerto with the Bronx Symphony in April 2009.

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Some freelancers have taken on additional private students to help boost their income durng tough times.

though she’s had to tighten her belt a little, she has also been fortunate that “around two or three years ago a few things came my way as far as teaching.” Ruas now teaches at Goucher College, the University of Maryland’s Baltimore County campus, and at the Baltimore School of the Arts. She is enjoying some side benefits from her reduced playing schedule, which now allows her to actually attend her students’ performances.

Other freelancers have taken on additional students to help boost their income during tough times. Namkung and Zeh each have a handful of students come to their homes. Shinozaki says that she and her husband, Eugene Sor, another Bay Area violinist, will probably take on a few more students to help with costs. But Eckholm, whose students are mostly adults, has seen a drop-off in private teaching as

For fun, violinist Karen Shinozaki, second from left, and violinist husband Eugene Sor, second from right, produce casual chamber music concerts under the name Sor Ensemble. Pictured with them after a performance are violist Rem Djemilev, left, and pianist Miles Graber.

the economy in California has worsened.

While cutting is a necessary evil for many orchestras, some still try to find creative ways to make up services for musicians. Lockwood Hoehl, the Baltimore Chamber Orchestra’s executive director, points out in an email that, “Even though we needed to cut back on the number of

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services in the 2009-10 subscription concert season, we were able to offer our musicians up to sixteen additional services (totaling more than they would have had in a ‘normal’ subscription season) by our tour to China (all expenses paid), a conducting workshop, and a run-out to University of Delaware. We have worked hard to give our musicians opportunities to replace income lost from the contraction of our concert season.” Colleen Marlow, executive director of the San Francisco Chamber Orchestra, seconds that sentiment. “We continue to be committed to providing as much work to our musicians as possible and at the best rates,” she writes in an email. “There’s no doubt the orchestra’s health is directly related to the number of times we’re able to put our first class musicians in front of our audience. We are increasing fundraising efforts and looking at cost-effective ways to increase opportunities for next season, but it might still be another year before we can afford to be at the level we were in 2008-2009.”

Somewhat counterintuitively, many freelance musicians are filling their schedules by boldly forming new ensembles.

Zeh has been performing regularly with the PitStop Players, a group of former and current Broadway musicians who wanted more of a turn in the limelight. The American Studio Orchestra, which was named 2010 “Artist In Residence” at The Johns Hopkins University Zanvyl Krieger School of Arts and Sciences’ Center for Africana Studies, debuted in October with a program featuring music by film composer Jacob Yoffee, and performed symphony

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its second multimedia program in April with Ruas on bass. Such endeavors prove that, even as financial opportunities may be dwindling, musicians are determined to keep the creative juices flowing.

Looking Ahead

What does the future hold for these intrepid hired guns? Even if they don’t have all the answers, most remain optimistic— though cautiously so. “I know a lot of people out there are scared to death and trying to figure out what else they can do to supplement their income,” says Namkung.

“I’m not there yet.” Ruas, too, says she feels fortunate that, while she’s not playing as much, the teaching work she’s picked up has remained inside music. Cumings has managed to pick up some side work doing Web design and development—partly out of necessity but partly out of increased interest in that field.

But while these musicians manage to maintain full and diverse schedules, how these freelance scenes play out over time will likely have a more significant impact on a younger generation of players. Ruas observes that, due to loss of freelance work in Baltimore, many of her orchestras’ primary players take less time off, meaning fewer subbing opportunities for those looking to get their foot in the door. Things in New York are no different. “Sometimes people say, ‘Where is the next generation of freelancers?’ ” Zeh says.

“When I first played with the Riverside Symphony, Orchestra of St. Luke’s, and ABT, I was the youngest player. I’m still the youngest player and I’m 37!”

Namkung has observed the same trend.

“I would not want to be one of the kids coming out of conservatory today,” she says. “But my optimistic side says maybe there’s going to be some kind of shift in what a person can do in this field—something that maybe we haven’t even thought of—which will create jobs.”

Zeh, Namkung, and Shinozaki are all

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encouraged by the support that audiences have continued to show their local orchestras simply by coming to concerts.

“When this all started coming down, I really thought that many of these smaller orchestras were going to go down completely,” Shinozaki says. “That didn’t happen. So I’m encouraged by that.”

And these freelancers’ own ability to adapt to changing conditions may be their

biggest boon, in bad times as well as good.

“I maintain a certain amount of optimism that creative people find a way to get by,” Zeh says. “If music is the only thing that you want to do, then go into music. I think artists are just that way—they find a way that works for them.”

IAN VANDERMEULEN is assistant editor of Symphony.

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Abreu Fellows Rebecca Levi and Dan Berkowitz (observing) with seminar facilitator Matti Kovler and student Rachel (at piano) in a session on teaching composition and improvisation to children in Boston in December.

On the Road

to El Sistema, Part II by Kathryn Wyatt, with Rebecca Levi A behind-the-scenes look at a new program to establish American versions of El Sistema, the Venezuelan social-action program with music performance as its centerpiece.

How can Venezuela’s El Sistema music-education model be translated into successful programs in the United States? That was the theme of the third and fourth months of the new Abreu Fellows Program, New England Conservatory’s one-year, tuition-free postgraduate certificate program for young musicians interested in becoming ambassadors of El Sistema, the Venezuelan music-education program founded in 1976 by José Antonio Abreu. Participating musicians are housed at New England Conservatory and spend a year studying in Boston and Caracas, followed by a required year advancing or founding an El Sistema program outside Venezuela. In SymphonyOnline in January-February, Kathryn Wyatt reported on her first few months as an Abreu Fellow, describing her own reactions and those of the other Fellows—who have all been reporting on the experience via blogs at the El Sistema USA website—to the intensive course of study and a fall visit to the OrchKids music-education program in Baltimore. Here, Wyatt and Abreu Fellow Rebecca Levi contribute the next installment from the trenches of El Sistema USA, as they observe and work with El Sistema-inspired programs in Boston, Los Angeles, Pasadena, Ottawa, and Panama—and head to Venezuela for two months of training. Wyatt and the other Fellows also speculate on the central concept of the núcleo—its unique combination of structure and creativity— and how to adapt it for different settings and circumstances.

—Jennifer Melick

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Courtesy Kathryn Wyatt

The first semester of the El Sistema USA Abreu Fellows Program at New England Conservatory was a sprint to the finish. For our last classroom weeks in Boston in December, we discussed such meaty topics as the documentation and assessment of El Sistema, led by Larry Scripp, formerly of Harvard’s Project Zero and now with the Center for Music-In-Education (CMIE) at New England Conservatory. We identified the tools we would use in our observations of El Sistema in Venezuela and El Sistema models in the U.S. And we crammed in visits to many Boston-based music and social-justice programs and conversations with experts on poverty, music education curricula, nonprofit business development, and music and the brain.

In Boston alone, there are many music programs run by people who are passionate about social change, including the Boston City Singers, the Boston Children’s Chorus, and the Conservatory Lab Charter School. One program that is particularly close to our hearts is the Open Access to

Music Education for Children program, which provides music instruction as part of public-health and social services to the Haitian community through Youth and Family Enrichment Services (YOFES) in Hyde Park, Massachusetts. The Open Access program has strong similarities to El Sistema: their orchestra is the unifying ensemble, they are based in a disadvantaged community, they are committed to musical excellence, and they encourage peer-to-peer leadership. Together, the students and their families build a community through music.

As we visited these different programs, we wondered what it is about El Sistema that we can successfully translate to this country. What are the rules? Is there a fixed model for El Sistema? Should we be building a franchise? This country is so diverse; we are a mosaic of peoples, cultures, words and melodies. El Sistema-inspired organizations must be able to reflect the uniqueness of their communities, despite sharing a set of values and goals.

Kathryn Wyatt (center) with Panama Jazz Festival students Elilyn, Felipe, and Jiancarlos (bottom), in Panama City in January.

Top: Rebecca Levi with a student in Baltimore’s OrchKids program. Above: YOLA EXPO students enjoy a warm January evening after a group lesson.

Núcleo: A Definition

In a December entry at his blog “La Limonada,” Abreu Fellow Alvaro Rodas asked, “What’s an El Sistema núcleo?” taking his inspiration from the term núcleo as it is used in biology and physics. “I view the role of the núcleo”—the central organism of the El Sistema model—“as essential in keeping the El Sistema movement rooted in communities (the ‘cells’) and its own mutations responding to their needs and its own mutations responding to their needs.”

The founder of El Sistema, José Antonio Abreu, carefully balances his focus between the microscopic needs of each núcleo and the macroscopic concerns of El Sistema’s international movement. Though a strong leader, he relies heavily on his dedicated staff and faculty, and thus finds a productive tension between framework and flexibility. Eric Booth, a teaching artist in the Abreu Fellows Program, described this phenomenon to us after a recent trip he took to Venezuela: “El Sistema is one of the most mission-driven large programs I have ever seen; at every núcleo, all the educators can tell you exactly what the goals of El Sistema are—a stunningly unified vision and purpose…. This is powerful advocacy: consistent, unified vision and message, from the national leaders to the local leaders to all the teachers to every janitor.

But the message never sounds canned; it is always personal and passionate.”

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Abreu Fellow Stanford Thompson works with students in the Baltimore Symphony’s OrchKids program last November.

Back in El Sistema USA, we Fellows You can’t watch the videos of the Simón music including Beethoven’s Serenade for are arming ourselves with the many difBolívar Youth Orchestra … without noStrings, the Handel/Halvorsen Passacaglia ferent tools we will need to build our own ticing the joy they are having within the for violin and cello, and the first movement diverse yet unified network of núcleos. Reparameters of Ravel or Shostakovich. Joy of Ravel’s String Quartet. Through music cently, we were interested to find that the and improvisation is simply a lifestyle in and “baby” Spanish, I shared my love of topics of study themselves often encourage El Sistema.”

El Sistema and how it creates communithe very balance of freedom and structure ties through orchestras. The kids soaked exemplified in Abreu’s Sistema. For examup every second of it, grabbing our shirts Travel to Panama, Los Angeles, ple, for a week in December, we picked up as we were leaving the classroom, pleadPasadena, Ottawa our instruments during a unit on improing for extra lessons. After I performed and I found a deep appreciation for jazz’s freevisation and composition—a challenging taught Bach’s Cello Suite No. 1 (transposed dom through structure during the winter exercise for nervous, rule-bound classical for viola), they begged for copies in order break as a visiting musician and teacher at musicians! Abreu Fellow Lorrie Heagy to play it for me “next time.” When visiting the Panama Jazz Festival, an important exsized up our fears in her blog Juneau Mumusicians are in town, every student within ample of music effecting social change. The sic Matters: “Why so much fear surround50 miles of Panama City makes the trek in festival, located in Panama City, Panama, ing this pure expression of creativity, even to meet them, hungry for good instruction. was founded in 2004 by Danilo Perez, a among accomplished musicians?” Heagy In order to raise their skill level so they are world-renowned jazz pianist who grew answered her own question by citing Ken Robinson’s book Do Schools Kill Creativity?, which says, “All kids have “You can’t watch the videos of the Simón Bolívar Youth Orchestra tremendous talents and we squander without noticing the joy they are having within the parameters of them ruthlessly…. We don’t grow Ravel or Shostakovich,” says Stanford Thompson. into creativity, we grow out of it, or rather we get educated out of it.” good enough for the conservatory, they ask up performing with Dizzy Gillespie and Lorrie Heagy and Matti Kovler, our for lessons, excited to meet us—the strange Herbie Hancock. Perez is now a Grammyseminar facilitator, showed us how to gringos from New England. winner and prominent figure in the Wayne structure a class so that it allows for the While I was getting creative with PanaShorter Quartet, and founded the Danilo students to be creative. But music itself is manian jazz music, Abreu Fellow Christine Perez Foundation and the Panama Jazz expression with rules! Abreu Fellow StanWitkowski explored the supportive strucFestival to provide music education and ford Thompson (Stan) convinced me this ture of one of the most famous models of cultural opportunities for young Panamais implicit in jazz music. Stan said, “CreEl Sistema USA, the Youth Orchestra of nians. I joined three New England Conating a núcleo in the U.S. is like improvisLos Angeles (YOLA), where students, servatory students and alumni in teaching ing over John Coltrane’s ‘Giant Steps.’ … parents, and teachers in the program inmaster classes and performing chamber

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teract on rehearsal nights, with parents and teachers speaking in Spanish and English while young students talk to older students.

In L.A., Christine met Susan Siman, former director of the Montalban núcleo in Caracas, currently affiliated with Doral School of the Arts and Allapattah Children and Youth Symphony in Miami. In Christine’s blog, she explains YOLA’s approach to teamwork, dispensing criticism, instilling self-pride, and teacher modeling:

With all of this focus on “extra-curricular” learning, I felt compelled to ask P.K. Candaux, one of RenArts founders as well as current executive director, about the kids’ test scores. She simply smiled and said, “The funny thing is that as the students’ test scores continue to go up and up, we keep adding more arts classes.” Oh, and one thing that I forgot to mention is that there is no academic homework at RenArts. The only thing these kids take home is an instrument to practice.

Abreu Fellow Dantes Rameau, back in his hometown of Ottawa, visited the Leading Note Foundation and was inspired to compare it to OrchKids, Baltimore’s núcleo, which we visited in November. Dantes said: While El Sistema-inspired programs have already begun creeping into cities all over North America, they do not all look the same. Because my hometown is

After observing Susan teach, we had a chance to sit down with her and Gretchen Nielsen (LA Philharmonic Director of Educational Initiatives) to unpack what we saw and why this method achieved such fast results. Here are some key aspects of Susan’s El Sistema teaching: Teamwork is essential: If a child misses a rehearsal, Susan tells them the rehearsal went very badly because they were gone—“we needed you.” The child alone is not the orchestra but is an integral part of the orchestra. Criticism comes from love: Emphasis on playing to correct mistakes instead of talking to correct mistakes—students keep trying until they get it right. Instilling selfpride and joy in music making: Susan insists that students play with passion and energy—standing up straight, holding their violins high and playing loudly.

It is important they show they are proud in how they play. The teacher must be what they wish to see: Teacher models the behavior, actions and positive values they wish to see in their students.

Meanwhile, Abreu Fellow David Malek went to Pasadena and found an exciting creative experiment within a public charter school called the Renaissance Arts Academy, which focuses its curriculum on the arts. David said: One of the first things you will notice upon walking into RenArts is that there are no classrooms. It is an open classroom with mixed-age instructional groups sitting around tables engaged in learning with their instructors. … Within the walls of RenArts are more than 300 sixth through twelfth grade students who have created a culture of learning and a passion and love for the musical and theatrical arts. These students are engaged in the subjects of humanities, math, Latin, and science (physics, chemistry and biology). However, in addition to their primary arts focus (string orchestra and theater), all RenArts students study voice, sight-singing, dance, percussion, and music theory. americanorchestras.org

Musicians in the Abreu Fellows Program have been blogging about their experiences in Venezuela and the United States.

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the capital of the country, many refugees and immigrant families end up settling there. Many of these kids end up in Ottawa’s El Sistema-inspired program, the Leading Note Foundation. The community center where the classes take place is in a part of town where families from opposite ends of the socio-economic ladder live right across the street from each other. Thus, this neighborhood trait has manifested itself in the diversity of the student body of the program.

In El Sistema-inspired programs, age is one aspect that seems to vary quite a bit. The ages at the Leading Note Foundation range from elementary school all

ways. At the Leading Note Foundation classes are offered three nights per week.

Depending on the number of ensembles that the participants sign-up for, they can be at the Foundation from one to three nights per week. At OrchKids, after the pre-kindergarten and kindergarten age bracket, the program runs Monday to Thursday plus Saturdays, for all participants.

Both programs make a point of emphasizing the group, which is at the heart of the El Sistema model. Leading Note has group lessons for wind instruments, cello and violin. Their ensembles include choirs, an orchestra, and even a guitar

When visiting musicians are in town, every student within 50 of Panama City makes the trek in to meet them, hungry for instruction. They ask for lessons, excited to meet us. the way to high school age. At OrchKids, on the other hand, they have decided to start with younger students so the age range goes from pre-kindergarten to 3rd grade.

A hallmark of El Sistema programs is the amount of time spent rehearsing, and this too is being approached in different In November, Abreu Fellows (from left to right) Alvaro Rodas, David Malek, Rebecca Levi, Dan Berkowitz, and Christine Witkowski hug after a session in Boston with guest speaker Gretchen Nielsen, director of educational initiatives for the Los Angeles Philharmonic.

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group. OrchKids has a group percussion class, instrumental group lessons, large ensemble, and a musicianship class where movement, ear training, and rhythm are taught.

In Venezuela’s El Sistema orchestras, there is a huge desire to be inclusive— hence they often include more than 200 youths! The programs in Ottawa and Baltimore have a similar attitude. Simply put, when it comes to musical ability, they believe every kid has it. There are no auditions required to be part of the programs, just a commitment from the

student to show up and work, and for the parents to encourage their child and get them to and from the classes.

Most important, both programs share the goal of uplifting youths and communities through ensemble music training. As OrchKids and the Leading Note Foundation have demonstrated, El Sistema programs can and will end up looking different in different parts of the world, but it’s these special values and core beliefs that will keep the movement alive and the children coming back for more.

In February, we spent our first two weeks in Venezuela at the Centro de Acción Social por la Música in Caracas. miles Every morning we were in deep good conversation with the head administrative staff of FESNOJIV (Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela); in the evenings we were blown away by performances of El Sistema youth orchestras that were on par with top-tier professional orchestras from around the world.

Our most important meeting in Caracas was with Maestro and El Sistema founder José Antonio Abreu, who spoke on an important concept that relates directly to the focus of this article: flexibility of structure.

He described it through a poignant paradox “Ser y no ser todavia” (“being and not being yet”). He explained that we as people and musicians must be strong in our ideals and core, and yet constantly be shifting our perceptions through new knowledge and experiences. Organizations must build structures and frameworks—in order to be able to improvise and change everything at the last minute. This constant cycle of growth and change is essential to the El Sistema phenomenon, and is a core value in our work.

Ultimately, these themes of El Sistema relate back to our own lives and education.

We are growing as fellows, educators, and collaborators and we are weaving together a unified vision using many threads of experiences, being flexible, open-minded, and entrepreneurial. As we prepare to work with existing núcleos in Venezuela, Scotland, Los Angeles, New York City, and Baltimore—and to found new ones in communities across the country, which now include Durham, Atlanta, Boston, Philadelphia, Juneau, and Queens, New York—we are faced with a maze of choicsymphony

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Abreu Fellows Kathryn Wyatt (viola), Stanford Thompson (trumpet), Christine Witkowski (horn), and Dantes Rameau (bassoon) perform with students at Youth and Family Enrichment Services in Hyde Park, Massachusetts, which has a Suzuki string program. The performance at YOFES had been planned before the earthquake in Haiti, but took on special meaning in the community after the disaster, with performances of Haitian folk tunes being a highlight.

es. Who will be our partners? Where do we begin? How many kids? How many times a week? What will we teach? How on earth can we make this happen? But we will make it happen. If we can build on the work that has already been done, if we can connect to our nation’s rich community of music educators, if we can adopt the core values of El Sistema—community, excellence, inspiration, and fun—we will find the right path.

KATHRYN WYATT, REBECCA LEVI, and the other eight Abreu Fellows will continue to share their experiences in Venezuela and in the U.S. at their individual blogs, linked in at the El Sistema USA site. Abreu Fellow Lorrie Heagy has compiled Fellows’ reading picks and a list of books discussed in the Abreu Fellows program. For the complete list, go to the SymphonyOnline section of americanorchestras. org and click on Outposts.

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What do you think are the unique challenges of bringing El Sistemabased programs to the U.S.? Does your orchestra work with local schools or social programs?

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The Sound of You Mahler or Rite of Spring with a youth orchestra?

Yes, and much more. As career choice or stepping-stone, conducting advanced teenaged musicians can bring rich rewards.

by Chester Lane

T

his winter, Stephen Rogers Radcliffe’s head was alive with the music of Verdi, Bernstein, and Schubert. As music director of the Seattle Youth Symphony Orchestras organization, he was in the final stage of preparing his most advanced group (the Seattle Youth Symphony Orchestra, or SYSO), for their February concert at Benaroya Hall.

The program included Verdi’s Overture to La Forza del Destino, the Symphonic Dances from West Side Story, and Schubert’s Symphony No. 9 in C (“Great”).

But Radcliffe also had Mahler on his mind, because he’d scheduled the composer’s Second Symphony (“Resurrection”) for the SYSO’s third and final concert of the season, a May 23 performance with Seattle Choral Company, an adult community chorus.

So in addition to honing the February program, Radcliffe had been holding reading sessions for the Mahler. “The kids have been coming to rehearsals knowing the music and struggling with the sections that every orchestra struggles with,” he says. “But they’ve really been able to read through it.” >>

Stephen Rogers Radcliffe leading the Seattle Youth Symphony Orchestra at Benaroya Hall

Andrew McIntyre

ng America

Radcliffe is one of many conductors who are making their marks at youth orchestras across the U.S., producing music that is frequently at a very high level with nonprofessional players, in settings independent of the conservatory or music school. In fact, youth orchestras, whether they operate autonomously (like Seattle’s) or under the umbrella of a professional orchestra, provide springboards for major conducting careers, both inside and outside the youth-orchestra world. Careers dedicated to conducting and building independent youth orchestras can be found as far back as 1924, when the nation’s oldest such organization, the Portland (Ore.) Youth Philharmonic, was established.

Hundreds of youth orchestras have sprung up since that time, both on their own and as part of a professional orchestra’s educational mission. And with skill levels constantly on the rise among classically trained young instrumentalists, some of these youth orchestras can now provide conductors with artistic challenges equal to those in adult professional orchestras.

Performing Mahler’s 80-minute “Resurrection” Symphony may be almost unheard of for a youth orchestra—unlike the First Symphony, a work that advanced highschool musicians take on fairly often—but Mahler is a hallmark of the SYSO. “We haven’t done all of the Mahler symphonies,” says SYSO Executive Director Dan Petersen, “but we do have a tradition with Mahler.

It’s great for getting the kids excited.”

Perhaps even more ambitious than the “Resurrection,” however, was Schubert’s Ninth, the longest and probably the most difficult of that composer’s symphonies.

Radcliffe says that when Leonard Slatkin visited the SYSO last season to work with the young musicians on Berlioz’s Symphonie fantastique, and learned that Radcliffe was contemplating Schubert’s Ninth for this year, he recommended that the orchestra not attempt it. “And I said, ‘We gotta do it. It’s a wonderful piece and the kids will love it.’ ” Why was Slatkin cautious? “The Ninth is exhausting,” says Radcliffe. “Long, technically demanding at the end, and the winds are playing constantly, chockablock with melodic material. In certain ways the Schubert is more difficult than the Mahler, because the SYSO is a very big orchestra. I think that’s what Slatkin was worried about.”

Performing works that require a Mahler­size ensemble, Petersen notes, “is good for

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sic. I ask, ‘Why do we phrase it this way?

Why does the resolution go in this direction?’ And young people want to know the story behind the music, or be encouraged to create a story in their own minds. This is not something you have time to do in a professional orchestra.”

Mark Garvin

Growing Up with Youth

The Philadelphia Youth Orchestra performs under Music Director/Executive Director Louis Scaglione; on June 6 he will lead PYO’s 70th-anniversary concert in Philadelphia’s Verizon Hall.

morale” in a youth orchestra. “It’s good for the growth of the program and for the educational experience, and it’s good to keep everybody busy,” including the lower brass and percussion, a fact that accounts for the hefty proportion of late nineteenth- and twentieth-century works in the repertoire of advanced youth orchestras. And the nation’s largest orchestral ensembles are indeed the youth orchestras, a fact owing to both financial realities—youth-orchestra players are not only unpaid, but in most cases pay tuition—and to the goal of inclusiveness.

But the more modestly scaled music of a composer like Schubert presents another kind of challenge for youth orchestras, Petersen notes: “This is an aesthetic that they might not naturally gravitate to the way they would to a big showpiece. Kids today are so technically advanced—they can play fast and loud and really have the chops. But as for subtle interpretation of music like Schubert’s, that’s a completely foreign world to them. I was very impressed with Slatkin’s ability to inspire the kids with the Symphonie fantastique, but he’s right: on a really simple level, the kind of work that’s done in the Classical repertoire, from Mozart through Schubert, is a different orchestral experience. Especially for the string players—they need experience and practice with this type of music.”

Like many such programs, Seattle Youth Symphony Orchestras has grown over the years by establishing feeder orchestras and skills-based training. With its four orchestras, a chamber ensemble, two summer training programs, and what Radcliffe calls

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“a very big portfolio of public-school partnership programs,” the $1.5 million SYSO organization is arguably the largest youthorchestra program in the nation, serving more than 1,100 students with a wide range of skill levels.

Radcliffe, one year into his second threeyear contract as music director, came to SYSO in 2004 after directing orchestral and operatic activities at the University of Massachusetts-Amherst. Armed with a master’s degree in education from New England Conservatory as well as a master’s in conducting from the University of Michigan, he has led youth orchestra programs throughout the U.S., Europe, Latin America, and Asia. He now heads an organization that was once nearly synonymous with the youth-orchestra music directorship as vocational calling: SYSO’s first conductor, Francis Aranyi, led the orchestra for seventeen years beginning in 1942; his successor, Vilem Sokol, for the next 28. Does Radcliffe see himself as a career youth-orchestra conductor?

“I just try to make music every day, and there is nothing more beautiful than to stand in front of 120 extremely talented young musicians each week,” he says. “They can play virtually anything. I don’t come ‘down’ to their level—I’m not sure I would know how to do that. I don’t beat time in a really big way; I maintain the quality of my conducting.

“One thing that makes it different than conducting a professional orchestra is that you have a chance to talk about techniques and musical concepts that they can carry through to playing sonatas or chamber mu-

Independent youth-orchestra programs in numerous large cities have long been magnets for young talent, drawing serious avocational and would-be professional musicians from throughout the metro area. In other large and not-so-large cities, youth-orchestra training has been taken on not by independent organizations but as a vital arm of the city’s principal orchestra.

A third paradigm exists in other areas, where youth-orchestra training is the province of one or more independent organizations, but supported educationally by the city’s principal orchestra. The Pittsburgh Youth Symphony Orchestra, for example, is independent from the Pittsburgh Symphony Orchestra in all governing, administrative, and financial matters, but has enjoyed an artistic affiliation with the PSO since 1962. Washington, D.C., and its suburbs are home to many youth orchestras, none of them affiliated with the National Symphony Orchestra, but since 1978 the NSO has mentored the area’s best young musicians by assembling a regional youth orchestra each spring for intensive rehearsals and a concert at the Kennedy Center.

In the Bay Area, directing a high-level youth orchestra is not only an essential part of the job for a staff conductor at the San Francisco Symphony, but an important waystation en route to a career as music director of a professional orchestra. When Donato Cabrera joined the artistic staff of the SFS last fall, he came with a two-part title: assistant conductor of the orchestra and Wattis Foundation Music Director of the San Francisco Symphony Youth Orchestra.

Since the SFSYO’s founding in 1981—its first music director was Jahja Ling, now music director of the San Diego Symphony— this youth orchestra has been an integral part of the San Francisco Symphony’s educational mission. Extensive sectional coaching is provided by the SFS musicians, in sessions that take place each Saturday prior to the rehearsal of the full youth orchestra. SFS Music Director Michael Tilson Thomas, a symphony

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musicians averaging sixteen or seventeen highly skilled educator, provides and Brahms’s First Symphony. On years of age successfully tackled Stravinsky’s invaluable programming advice tap for the May 16 season finale Rite of Spring. And though it was McAdams’s to the youth orchestra’s music diare John Adams’s popular contemfirst outing with Rite—a landmark event in rector, and occasionally drops by “One of my porary work The Chairman Dances, his young career—it wasn’t the first NYYS to watch or lead rehearsals.

Vaughan Williams’s Fantasia on a mantras,” performance of the work. “I think the last Perhaps most important for a Theme by Thomas Tallis, and Tchaifour or five music directors of this orchestra music-director-in-training, the says SFSYO kovsky’s Fifth Symphony—a work have done it,” he says.

SFSYO provides “an opportu- Music that has long been a staple of the Few other youth orchestras have attemptnity for our assistant conductor Director advanced youth-orchestra repered it—the SFSYO performed Rite in 1983 to have an orchestra of his own,” toire. under Music Director Alasdair Neale, now says SFS Director of Education Donato “I’ve made it a point to play a music director of California’s Marin Symand Youth Orchestra Ron Gall- Cabrera, “is piece by a living American comphony Orchestra—but McAdams considers man. “He also gains experience in to treat my poser on all of my programs this the piece “ideal for this orchestra—it’s enerworking with boards and funders, year,” Cabrera says, “and hopefully getic and rhythmic and violent. It just apdeveloping relationships with musicians I’ll be able to continue that.” Both peals to them. There was a time when Rite supporters and philanthropists. and conduct for the canonical works and the was considered unplayable. Now it’s become So when this conductor moves them exactly contemporary ones, Cabrera prestandard [for professional orchestras]. But on to a music-director position pared a recordings list as part of the it’s still a challenge, no matter who’s playing at a professional orchestra, these the way I SFSYO musicians’ handbook— it.” The orchestra’s success in March has givare skills they’ve developed a level would a including, where possible, benchen McAdams high hopes for the third and of comfort with. If you were just professional mark performances from different final concert of the season, when the NYYS a staff conductor at the big proeras and available on Amazon or will perform Richard Strauss’s Ein Heldenlefessional orchestra you certainly orchestra. iTunes. “I want the kids to know ben. “That may be the most ambitious thing wouldn’t be doing that.” the historical timeline.”

They this orchestra has ever taken on,” he says.

Brent Assink, the San Francis- shouldn’t As for what it means to conduct An independent organization that runs a co Symphony’s executive director, an orchestra of talented but young chamber-music program, a jazz ensemble, notes that when the SFSYO was expect any and inexperienced non-profesand a composition workshop in addition established nearly three decades less from sionals, Cabrera says, “One of my to its single large orchestra, NYYS proago, “There were many other me.” mantras is to treat them and convides not only vital exposure for emerging youth orchestras in the Bay Area, duct them exactly the way I would composers and soloists, but a launch pad as there are today. But what this a professional orchestra. I don’t feel for conducting careers. Past music directors program really tries to do is to give young I have to be any different with my gestures, now leading professional orchestras include musicians a taste of what it’s like to be in a and they shouldn’t expect any less from me.”

Leonard Slatkin at the Detroit Symphony professional orchestra. [The SFSYO is] a In New York, another city with an excepOrchestra, David Alan Miller at the Albany single orchestra that draws from throughout tionally large talent base, professional-quality (N.Y.) Symphony Orchestra, Myung-Whun the region, as far away as Sacramento and performances of challenging repertoire— Chung at the Orchestre Philharmonique de Monterey. The ages generally range from including three world premieres at Carnegie Radio France, and Miguel Harth-Bedoya at twelve to twenty, though occasionally we’ll Hall each season—have long been a hallmark the Fort Worth Symphony Orchestra. have some extremely talented musicians of the New York Youth Symphony. In March For Harth-Bedoya, NYYS was his first who are a little bit younger. It’s by audition, of this year under Music Director Ryan Mcjob after graduating from Juilliard in 1993, and participation is at no cost to the young Adams, an NYYS ensemble of about 115 musicians or their parents.”

Highly selective, the SFSYO presents The Youth Orchestra Division: its music director with repertoire options Investing in Young Talent that are essentially identical to those of the outh orchestras have comprised a distinct constituency within the most accomplished professional orchestras. membership of the League of American Orchestras since the establishment Cabrera’s inaugural concert last November included Elgar’s Enigma Variations, Haydn’s of its Youth Orchestra Division in 1975. Today the YOD includes 177 member Symphony No. 92 (“Oxford”)—a Classicalorchestras, representing both independent organizations and ones that are affiliated period masterwork, atypical for a youth with a professional orchestra or music school. The League plays an important role orchestra—and Christopher Rouse’s 1981 in the development of youth orchestras through its semiannual newsletter Upbeat; orchestral tour-de-force The Infernal Mapublication of a Youth Orchestra Profile based on periodic surveys of the field; chine. In March of this year the SFSYO perand ongoing programs of training, support, advice, and networking opportunities. formed Gabriela Lena Frank’s 2004 Three Latin American Dances, the Sibelius Violin Information on the Youth Orchestra Division can be found at http://www.

Concerto (featuring the orchestra’s fifteenamericanorchestras.org/utilities/youth_orchestras.html. year-old concertmaster, Kenneth Renshaw),

Y

americanorchestras.org

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In November 2008, New York Youth Symphony Music Director Ryan McAdams opened his second season with the world premiere of Ryan Gallagher’s Strife and Mozart’s Piano Concerto No. 20 in D minor, both featuring soloist Haochen Zhang. The following spring Zhang took one of two first prizes in the Cliburn International Piano Competition.

Steve J. Sherman

File This!

“ We liked The Lost Elephant so much that we brought Dan back six months later to do The Haunted Orchestra. Both shows were delightful, and we continue to hear praise from teachers, musicians, staff and parents. Dan’s innovative productions captivate children in a meaningful and imaginative manner. The music is brought to life and everyone has a great time. It is a pleasure to work with such a devoted and talented professional.”

— Annapolis Symphony Check out the file on Dan at

www.dankamin.com

Dan Kamin

Comecdeyrtos Con (412)563-0468 dan@dankamin.com

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and an experience that proved essential to spectively—and the Philadelphia Youth Orsecuring a music directorship at the Eugene chestra, where Joseph Primavera completed (Ore.) Symphony Orchestra immediately a record 51-year tenure in 2004. The PYO following his four-year NYYS tenure. “A is now directed by its erstwhile assistant connice thing about working with the youth orductor, Louis Scaglione, who at Primavera’s chestra,” he remembers, “was that the hierarbehest took over as both music director and chy of music director to musicians executive director of the previously exists even though everybody is at “I was in my volunteer-run organization. an early stage of their musical life.

Melody Welsh-Buchholz, exmid-twenties, Musically speaking, we were ready ecutive director of the Louisville to play anything. But the format looking to Youth Orchestra and current was completely different than at build my chair of the League of American professional orchestras, where we Orchestras’ Youth Orchestra Dicareer, and have to produce so many perforvision, says that when she began mances per week or weekend. youth orches- managing the LYO 25 years ago, With the youth orchestra we’d tras were one career youth-orchestra conduchave eight or more rehearsals for tors like Sokol and Avshalomov of the areas each concert, plus sectionals— were “the unusual animals in the where there whatever was needed.” bunch.” Conductors with dedicatAdding greatly to the experi- seemed to ed careers leading youth orchestras ence was the NYYS’s First Music include the PYO’s Scaglione, who be natural commissioning program, which conducts both its senior ensemmeant participating in the com- possibilities ble and the Philadelphia Young poser-selection process and learn- for me,” says Artists Orchestra, one of PYO’s ing three brand-new scores each feeder groups; Aviva Segall, now Troy Peters. season. “That appeals to a musicompleting her eleventh season as cal mind in a very different way music director of the Omaha Area than a previously existing work would,” says Youth Orchestras; Michael Neumann, who Harth-Bedoya, “and you get to interact with was named conductor of the Sacramento living composers. There’s no better training Youth Symphony in 1979 when it was an in music.” arm of the now-defunct Sacramento Symphony, and who has significantly expanded the program in the nineteen years since it The Long Haul went independent; and Troy Peters, who Aside from the Seattle Youth Symphony came to the Youth Orchestras of San AntoOrchestras, where Vilem Sokol reigned for nio as music director last fall after fourteen nearly three decades, youth-orchestra proyears leading the Vermont Youth Orchestra grams that became known for career music Association. directorships include the Portland (Ore.) In high school Peters had played in the Youth Philharmonic—its first two conTacoma Youth Symphony, and he traces ductors, Jacques Gershkovitch and Jacob his early interest in conducting to the influAvshalomov, served for 30 and 40 years, resymphony

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David Yandell

ence of its then-conductor Harry Davidson, now music director of the Duke University Symphony Orchestra. Studies at the Curtis Institute opened up a double opportunity for Peters: a conducting assistantship at The Philadelphia Orchestra, and one with Primavera at the Philadelphia Youth Orchestra.

After spending seven years with Primavera, says Peters, “I was in my mid-twenties, looking to build my career, and youth orchestras were one of the areas where there seemed to be natural possibilities for me.”

Based in the Burlington area, Vermont’s largest population center, the VYO fields a senior orchestra with enough skilled players to take on Mussorgsky’s Pictures at an

Troy Peters is seen here leading musicians from the Vermont Youth Orchestra Association, which jumped from two orchestras to five during his fourteen years there. He is now completing his first season as music director at Youth Orchestras of San Antonio.

Exhibition, Shostakovich’s Fifth Symphony, the first symphonies of Brahms and Mahler, and Tchaikovsky’s second and fourth as well as his Romeo and Juliet. “But at first I wasn’t programming a Brahms symphony,” says Peters. “It was maybe the Hungarian Dances and then the Academic Festival Overture. I think a lot of us youth orchestra conductors say, ‘Four years from now we want to be able to do a Shostakovich symphony or some other large piece.’ Four years from now it’s going to be a different bunch of kids, but you are building a skill-set in the orchestra that will overlap and get carried on. And I know a lot of colleagues who will say something like, ‘For our finale this year we’ll do Kodály’s Háry János—I’m going to do some less ambitious pieces earlier in the season that explore some of those techniques or musical ideas, so the students will already have that vocabulary by the time they get to tackling the more difficult piece.’ americanorchestras.org

“In Vermont,” he continues, “I was music director of the whole organization and actually conducted the top orchestra and the third orchestra, so students coming up through the program would work with me twice. Here in San Antonio I’m just conducting the top orchestra.” But he now leads a big-city organization that encompasses two full orchestras and three string orchestras, plus an El Sistema-inspired afterschool program and a two-week summer string camp. How does he view the balance between artistic excellence and educational opportunity?

The expansion of youth-orchestra organizations to embrace multiple skill levels, says Peters, “builds your base of support. You have more parents, more teachers involved through their students. That ties you more tightly into the musical community and the larger community of the town. And it does raise quality in the long run. Students grow up in the system learning all the musical technique they’ll need to achieve at the top level, just as a major-league baseball team would have its own farm system.

“No matter where you are, it’s important to think about having the orchestra look like the community. In a youth orchestra you’re taking all the students you can get, but you can target your recruiting so you’re really reflecting the population among whom you live. In Vermont I wanted to play music by Vermont composers. I may not use the same template here in San Antonio, but there certainly will be a commitment to programming that is reflective of this place. I’m trying to make everything about the artistic product be reflective of who we are. But we’re also going to play Beethoven, and our big pieces this year include Sibelius’s First Symphony and excerpts from Prokofiev’s Romeo and Juliet. We’ll be committed to the core repertoire, because that’s what an orchestra is.”

CHESTER LANE is senior editor of Symphony.

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William Struhs

Emmanuel Villaume, Christel DeHaan Music Director for Opera and Orchestra, will conduct the Spoleto Festival USA Orchestra in two symphonic concerts during the 2010 festival.

Chain Reaction

by Heidi Waleson

Want to give a boost to the financial life of a small town?

Host a summer classical-music festival.

When you visit Charleston, South Carolina in late May or early June, you can’t miss the presence of the Spoleto Festival USA. Hotels are booked up. Restaurants are packed.

The streets are crammed with people who are there for the concerts, operas, theater, and dance performances that fill the festival’s three weeks. Charleston Place, a modern luxury hotel, sits right in the center of town, opposite the bustling historic covered market, and seems to host at least a wedding a day. The storefronts behind it, on King Street, which were empty and sad twenty years ago, house both local emporiums and national chains like Williams Sonoma and Urban Outfitters.

The Spoleto-Charleston experience is a classic success story of how high culture can bring economic prosperity to a town

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or a region. Charleston is a charming city, with swaths of eighteenth- and nineteenthcentury buildings and Fort Sumter just across the bay, but it took the festival to jump start it into a major tourist destination. The numbers help tell the story: an economic impact study by the University of South Carolina’s Moore School of Business calculated that the 2005 festival brought in over 28,000 visitors to the city (72 percent of the festival’s 39,000 attendees were from outside Charleston, averaging a six-day stay). The festival contributed $55.1 million to the Charleston economy that year, a level of activity that supported 984 jobs and $20.4 million in local household income.

Such economic impact calculations include the effects of an institution’s operation (program expenses, marketing and

administrative costs) as well as those of the visitors’ spending (lodging, restaurants, shopping, transportation, etc.). The model used in the 2005 study went on to calculate how the direct spending resulting from Spoleto circulated through the economy. In addition, the study noted that the presence of Spoleto had an even farther-reaching impact in economic development: “A diverse cultural industry is vital to attracting retirees and new businesses to the state.”

Spoleto, it said, helped provide a “competitive edge.” In February of this year, longtime Charleston Mayor Joseph P. Riley, Jr. was awarded the National Medal of Arts

by President Barack Obama for cultivating Charleston’s historic and cultural resources.

In 2005, Spoleto Festival USA had a budget of just over $7 million, but smaller symphony

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At its 2009 festival, Bard SummerScape staged Meyerbeer’s Les Huguenots, with Erin Morley as Marguerite de Valois, Queen of Navarre.

William Struhs Courtesy of Artpark

Round Top Festival

A woodwind quintet rehearses at Round Top Festival Institute.

Stephanie Berger

Opening ceremonies for Spoleto Festival USA’s 2010 season will take place on the steps of Charleston City Hall.

Artpark’s Outdoor Amphitheater, used for summertime concerts, sits atop the Niagara River Gorge in Lewiston, New York.

Ken Riddick

festivals around the country also produce local economic impacts. Few of these festivals have the resources to quantify those effects, but anecdotal information indicates that even a small festival can make an economic difference to its community.

Take the Round Top Festival Institute in Round Top, Texas, with a budget of about $1.2 million. The pianist James Dick started this professional training institute Royers Round Top Café does a brisk summertime business, thanks in part to the Round Top for classical musicians in 1971. He chose Festival Institute. the town of Round Top (which boasted we’re up high, we don’t get the Houston a population of 77 in the 2000 census, appreciate good food,” he says. “We plan humidity, but we still get southerly breezes making it the smallest incorporated city our life around those six weeks of the festioff the Gulf coast.” in Texas), and rented space on the town val. On Saturday, there are concerts at 3:30 The area has experienced considerable square, finding that “people were happy in the afternoon and then at 8 at night. economic growth since the institute first to put pianos in their homes for our ten We get a pop before lunch, and then we’re opened its doors. “When we came, there pianists to practice on.” The festival soon squeezing everyone in before the afternoon were no B&Bs; now there are about 60 in began to acquire its own property; it now concert, and then again before the evening the area,” Dick says. Grover Hillbolt, who has a 210-acre campus known as Festival concert. It’s a juggling act to get people in moved to the area when he retired in 1987, Hill complete with historic houses, nature and out—we’re not McDonald’s!” took over a local real estate office two years preserves, and concert spaces, including a Two other visitor-heavy events in the later. “I bought my land for concert hall seating 1,000 that area surround the institute period: an enoropened in 2007. The institute Since opening $200 to $400 an acre,” he mous antiques fair, with one week in April says. “Now, a nice place of 40 brings in 85 to 100 student and one in October, and Shakespeare at in 1971, Texas’s or 50 acres will cost $8,000 musicians, on scholarship, for Winedale, a theater festival put on by the Round Top to $10,000 an acre. If it’s its six-week session in June University of Texas, which runs from midFestival Institute close to town, or has a house and July, plus about 30 faculty July through the beginning of August. has been a big on it, that’s extra.” members. About 30 concerts, Both have been in existence for about 40 contributor to The institute has clearly including both orchestral and years, like the Festival. “This makes a pretty the economic played a role in that growth. chamber music, are presented big season for a small town,” Royer says. during the summer; another growth of the area “Festival Hill gives our place “People come every year, and that gives us a 20 are given during the rest of between Houston uniqueness not shared by any chance to build our name and brand.” and Austin. place in Texas,” Hillbolt says. the year. Many of the concerts For Royer, the institute’s presence has “It’s a beautiful area. People sell out. Festival Hill also hosts an impact far beyond its summer season. come to visit our B&Bs, and enjoy the a number of other events during the year, “People who have gone to a concert come countryside, the peace—there’s no traffic— including a poetry festival and an herbal foback at other times,” he says. “It gives name and Festival Hill is the frosting on the cake. rum for gardeners. recognition to the area. We have a mailPeople visit, attend a couple of concerts, The location turned out to be ideal for order business; we ship all over country. We and they think, ‘If I lived here, I’d attend the institute: as Bud Royer, have a catering business all over the state; more concerts than if lived in Houston.’ It’s owner of the town’s “gourwe cater parties in Houston and Austin that extra layer that people like.” met comfort food” restaufor people who have never been to Festival Bud Royer knows exactly what the rant, Royers Round Top Hill, but know of us because of it. They’ve Round Top Institute means to his bottom Café, puts it, “Round Top is enabled us to build our business, and stay in line. His 40-seat restaurant, which serves to Houston what the Hampbusiness. We make sure they have a couple high-end food and ships its famous pies tons are to New York City.” dozen pies every week during the season.

Round Top Festival all over the country, “would not be in busiThe town is halfway between It’s the least we can do!”

Institute Founder ness if it were not for Festival Hill,” he says.

Houston and Austin, each and Artistic Director Royer took over the café in 1987, just as the about an hour away, and just Meanwhile, in Wisconsin…

James Dick oil business in Texas collapsed. He moved an hour and a half from San The Peninsula Music Festival, now in its his family from Houston and scraped by for Antonio—all easy journeys in the Texas car 58th season, is a cultural amenity in a reseveral years, finally realizing that his cusculture. It is thus an attractive destination gion that is mostly about the great outdoors. tomers—the weekenders and second-home for day trippers, weekenders, second-home Door County, Wisconsin, the 80-mile-long owners—would be only too pleased to pay buyers, and retirees. “It’s like Connecticut, peninsula that protrudes thumb-like into more for quality food if paying more would with rolling hills and great weather,” James Lake Michigan, is sometimes known as keep the restaurant in business. “That’s the Dick rhapsodizes. “We have live oak trees the “Cape Cod of the Midwest” for its 300 clientele that comes to Festival Hill—they that are hundreds of years old, and because miles of continuous shoreline. It’s a lure for

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During the 2009 Peninsula Music Festival, Music Director Victor Yampolsky (left) chats with pianist Stewart Goodyear backstage before a concert.

mances in a high school gymnasium for its first 38 years. Today, the festival has professional staff and performs in a 700-seat concert hall. Its $750,000 budget is primarily dedicated to paying the Festival Orchestra’s 70 musicians, who come from professional ensembles around the country and play under the baton of Victor Yampolsky, music director since 1985.

The festival is an integral part of an array of cultural elements that add “flavor” to the area as a vacation destination, says John Jarosh of the Door County Visitor Bureau.

Door County has long been attractive to artists, and has a well-known art school, the Peninsula School of Art, a concentration of potters, and many galleries. There is also summer-stock theater and chamber music at Midsummer’s Music Festival. The americanorchestras.org

cultural offerings help to swell the resident population numbers from a year-round total of 30,000 to 150,000 in the summer; two million people visit the county each year, according to Sam Perlman, economic development manager of the county. Tourism, the third largest industry in Wisconsin, is critical for the area, particularly its northern end: Door County’s Visitor Bureau estimated that tourism in Door County generated $483.9 million in visitor spending in 2008. Spending on recreation was $140.56 million, 22 percent of the total, and cultural events accounted for $3.07 million of that (a category that included sport fees, event fees, and wagering was the largest recreation slice, at $54.86 million).

Grutzmacher points out that the festival participants themselves boost the local economy. The 70 orchestral musicians who come for three weeks with their families rent cottages or condos and buy food and gas. “They eat at the restaurants, rent bikes and boats, go to galleries and shops,” she says. “Many have friends who visit during the three weeks to take in a concert. With 70 orchestra members and their families and friends, the impact on the local economy is strong.” In addition, as a year-round business, the festival employs community people, rents offices, and uses phone and internet service. “We use our local printer, advertise in newspapers and tourist guides, and spend all of our money locally.” Grutzmacher says that the community recognizes the festival’s economic importance: “They make contributions and advertise in the program book because the festival brings people into their restaurants. We ask them to stay open after concerts, and they do.

Some give deals or discounts to musicians.

There’s a mutual recognition that one can’t survive without the other.”

summer performance options. George Osborne, Artpark’s president, says the people who did come to the BPO concerts were a plus for the community: a recent economic study by the American Council on the Arts calculated that the BPO audience, averaging about 1,000 attendees per concert, had a $500,000 positive impact on the local economy during the summer. “The BPO was our anchor classical programming, even though it was light classics. The rest of what we do is popular genres, such as Broadway musicals and rock concerts,” Osborne George Osborne, Artpark President says. “The BPO drew a higher-end audience, the kind of clientele that we don’t get for other shows. They spent more money on the restaurants and shopping. We have an art gallery here: BPO attendees were their primary customers, who would spend $500 on a painting. They are going to be missed.”

For Leon Botstein, president of Bard College and the artistic director of the Bard Music Festival in rural Annandale-onHudson, bringing that high-end audience to the Hudson Valley has been a long-term plan. He and others felt that cultural tourism could revitalize the area, which is located 90 miles north of New York City. “IBM moved out, and employment collapsed,” he says. “It’s not a sports area. It’s not recreational. There’s nothing really historic— George Washington didn’t live here. The best we have is Hyde Park [Franklin D. Roosevelt’s home], and it doesn’t have the same aura as the founding fathers. What Buffalo Philharmonic Music Director JoAnn Falletta leads the orchestra and dancers in an Argentine tango at Artpark in 2007.

And in New York State…

Businesses in the Lewiston area around Artpark, the large concert facility 25 miles from Buffalo, New York may discover something about the economic impact of concert audiences this coming summer. For the last six years, the Buffalo Philharmonic Orchestra has presented a ten-concert Summerfest series at the facility. But Daniel Hart, the BPO’s executive director, says that the orchestra “struggled to get an audience there,” so this summer, it will play four concerts at Artpark and look at other

Courtesy of Buffalo Philharmonic

Evan Richards

boaters, campers, and hikers. Sharon Grutzmacher, the festival’s executive director, says that geography is the festival’s greatest competition: “It’s hard to compete with a beautiful sunset on the bay. People are out on their boats, and it’s still light at 8 p.m.”

Still, the festival, a three-week blitz of nine different orchestral programs presenting a mix of standard and unusual repertoire by the Peninsula Music Festival Orchestra and guests, attracts a solid, loyal audience that returns every year. It was founded in 1953 by Lorenz Heise, a Milwaukee businessman and summer resident of the area, a Moravian center since the mid-nineteenth century. After attending a Moravian music festival in North Carolina, Heise enlisted conductor Thor Johnson, its leader, to start something similar in Door Country, raising the necessary support from likeminded, affluent vacationers. The festival was volunteer-run and held perfor-

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works? Glyndebourne. Salzburg.”

Botstein’s idea, combining his interests as an academic and a musician, was to create an intensive, themed festival, where, over the course of two weekends, audiences could be immersed in the work of a single composer. Concerts, lectures, and scholarly symposiums would explore the music of the selected composer and his contemporaries and tie it to history, art, theater, and the like.

The first festival, in 1990, was “Brahms and His World”; the Festival Orchestra played in a tent and the symposiums and chamber-music concerts took place in the college buildings. Successive years explored Strauss and Haydn as well as Schoenberg and Ives, attracting audiences for popular and challenging composers alike. The American Symphony Orchestra is currently the festival’s mainstay ensemble.

The festival’s success emboldened Bard to build: in 2003, it opened the Richard B. Fisher Center, a building designed by Frank Gehry that features the signature metal swoops of the architect’s Guggenheim Museum Bilbao and Disney Hall in Los Angeles and includes the 900-seat Sosnoff Theater and the smaller, flexible Theater Two. These new spaces allowed Botstein to expand Bard’s summer offerings that year to include opera, light opera, dance, theater, cabaret, and film. The full summer program, now called Bard SummerScape, begins in early July and runs through August. The Gehry building itself has become a visitor attraction, and Bard is investing in further starchitect-designed infrastructure: a dining and entertainment space by Tod Williams and Billie Tsien, slated to open in 2012, to replace the popular Spiegeltent.

SummerScape, with a budget of between $4 million and $5 million a year, brings in the visitors: 45,000 people attend the events. The festival fills the local restaurants, hotels, and bed-and-breakfasts. Jean Bordewich, a former member of nearby

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Corey Weaver

Bard Music Festival concertgoers arrive at the Richard B. Fisher Center.

kind of people they are familiar with. Bard Red Hook’s town board says, “It gives us a brings those kinds of people here.” distinction that we would not have otherSummer activity builds on the yearwise.” Joseph Cicileo, who rehabbed an old round presence of Bard College, bringing hotel in the nearby hamlet of Tivoli, opennew vitality to the surrounding commuing the boutique eleven-room Madalin nities. Jean Bordewich says, “In the years Hotel and the restaurant Madalin’s Table in since the festival was established, we have 2006, says he had no idea how much the had more people who choose to rent homes festival would mean to his business. “Not here in the summer, and it attracts people many people go out to eat at 5 p.m., but to actually move there. They want to be Bard gives you the early crowd,” he says. close to intellectual and creative energy of “We have 100 seats, and we are filled up Bard. Those people enrich the commuhere, early, on the nights of the music festinity, intellectually and socially, because it val. They come early, they eat well, and they brings in people who care about education, are repeat customers week after week, and which has a positive impact on our public year after year.” As for the hotel, he says, “I school system, since they are more willing wish I had another building.” to pay taxes for schools. And the festival’s Some Bard attendees want to stay longer. focus on the arts helps our arts program in When Linda Hirshman was a professor of the Red Hook schools. After political philosophy at BranBard built the Fisher Center, deis University in Waltham, they started inviting the high Mass., she summered in Cape school to do its annual conCod, but once she retired, she “I’ve seen cert in the spring there. That’s looked into Dutchess County people come to because she had read about this area because exciting for parents, and inspiring for students.” the festival. She attended of the people who Indeed, in the last several the “Shostakovich and His are already here— years—given the upheaval World” festival in 2004, was they like the arts following 9/11 and now with instantly captivated by its inand Bard.” the economic downturn— tellectual stimulation (“like Ann Brown is also seeing most academics, I’m a permore people who are conpetual student”), and started sidering the area for fulllooking for property right time living. “People come first for second away. “The crucial thing was to be not more homes; my husband has two clients now than fifteen minutes from the Fisher Cenwho came to look at second homes but ter, so I put a protractor on the map and are thinking, ‘maybe in five years we’ll drew circle around it,” she says. Hirshman live there full time,’ ” she says. “We have and her husband bought land in the area, people in their forties who want to live and soon built their own home. here. That’s the biggest change. People “I did comparison shopping,” Hirshman who never heard of Tivoli will be drawn to says. “I could have gone anywhere, like the it for schools and the restaurants. We can Berkshires or Santa Fe, but what’s so wonoffer that, we have it, because of Bard. It’s derful about Dutchess County, because of a chain reaction.”

Bard and the fabulous summer of music, culture, and lectures, is that it’s an intellectual environment that’s only an hour and Heidi Waleson writes about the performing a half from New York City. It attracts the arts and is opera critic for The Wall Street Journal. kind of people you really want in your community.”

Got an opinion? Join the discussion!

Ann Brown, who runs Dirt Road Realty in Dutchess County with her husband, Should financial impact be important sees this as a significant phenomenon. “I’ve when making the case to your seen people come to this area because of community about the value of the people who are already here—they like orchestras—or should artistic quality the arts and Bard. That type of amorphous reign supreme? feeling almost changes to critical mass,” she Click on the Discussions tab below to says. “People want to come to a community comment. that they are comfortable with, that has the

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Summer Festivals

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AL A S KA

Fairbanks Summer Arts Festival Fairbanks, AK July 18 – August 1 in the land of the midnight Sun: a unique multi-discipline study-performance festival on the beautiful university of alaska campus. inspiring guest artists, classes, and performances.

Festival conductors: peter Brockman, brass; robert Franz, orchestra; Joann Kulesza, opera Festival artists: paul Sharpe, bass; Karrie pierson, bassoon; parry Karp, Karl Knapp, cello; tony costa, clarinet; robin costa, english horn; John Barcelona, dorli mcWayne, carol Wincenc, flute; Jenny lindner, harp; James atkinson, horn; p. Bailey Sorton, robert Sorton, oboe; peter Brockman, trombone; Burnette dillon, trumpet; Sally chisholm, viola; Suzanne Beia, alvaro & routa gomez, david perry, violin.

Featured groups: chamber orchestra, instrumental choirs, Jovino, oBoHio double reed consort, opera, orchestra, pro arte Quartet.

For Information: terese Kaptur, executive director p.o. Box 82510, Fairbanks, aK 99708 907 474 8869, 907 474 8617 (fax) festival@alaska.net fsaf.org

AR KA NS A S

Hot Springs Music Festival

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Mark Garvin

Sitka Summer Music Festival Sitka, AK June 4 – 25 the festival begins the first Friday in June and lasts three weeks, with a full calendar of events including concerts on tuesday and Friday evenings and one Saturday evening performance. artistic direction: Zuill Bailey, artistic director designate; paul rosenthal, artistic director Festival artists: Zuill Bailey, cello; paul rosenthal, violin; other artists tBa For Information: roberta B rinehart, executive director p.o. Box 3333, Sitka, aK 99835 907 747 6774 director@sitkamusicfestival.org sitkamusicfestival.org

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The Mann Center for the Performing Arts presents nine Philadelphia Orchestra concerts through June and July at Fairmount Park.

americanorchestras.org

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C A LIFOR NIA

Cabrillo Festival of Contemporary Music Santa Cruz, CA August 1 – 15 led by marin alsop, “the cabrillo Festival has made the contemporary repertoire sound urgent, indispensable and even sexy” (Financial times). the Festival orchestra is joined by renowned composers and artists in a spectacular coastal town. artistic direction: marin alsop

Summer

2010

Festivals

Hot Springs National Park, AR May 30 – June 12 the Spa city overflows with music as 200 international musicians create 19 concerts and 250 open rehearsals of symphonic and chamber music, master classes, and multidisciplinary events. artistic direction: richard rosenberg Festival conductors: richard rosenberg, guest conductors tBa Featured groups: Hot Springs music Festival Brass ensemble, Hot Springs music Festival chamber players, Hot Springs music Festival chorus, Hot Springs music Festival orchestra, mana Saxophone Quartet For Information: laura S. rosenberg, executive director Hot Springs music Festival 634 prospect avenue Hot Springs national park, ar 71901 501 623 4763 festival@hotmusic.org hotmusic.org

Festival conductor: marin alsop Festival artists: Wendy Sutter, cello; colin currie, percussion; Kevin puts, piano; and works by John adams, anna clyne, philip glass, michael Hersch, Sean Hickey, Jennifer Higdon, pierre Jalbert, elena Kats-chernin, Kevin puts, michael Shapiro, nathaniel Stookey, mark-anthony turnage, and george Walker.

Featured groups: eighth blackbird; Kronos Quartet For Information: ellen m. primack, executive director 147 S. river Street, Suite 232 Santa cruz, ca 95060 831 426 6966, 831 426 6968 (fax) info@cabrillomusic.org cabrillomusic.org Festival Mozaic San Luis Obispo, CA July 15 – 25 an immersive experience of five centuries of music, the Festival presents orchestral concerts, chamber music, guest artists and ensembles, and unique

21 JUN 14 AUG

Eight Weeks of Marvelous Music in Santa Barbara, CA Orchestra Chamber Music Opera: Don Giovanni Masterclasses

Guest Conductors Daniel Hege • Jeffrey Kahane George Manahan • Nicholas McGegan Peter Oundjian • Larry Rachleff

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805.969.8787

musicacademy.org

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educational formats at Hearst castle and other scenic venues across california’s central coast. artistic direction: Scott Yoo, music director Festival conductor: Scott Yoo, music director and principal conductor For Information: curtis pendleton, executive director p.o. Box 311, San luis obispo, ca 93406 805 781 3009, 805 781 3011 (fax) Curtis@FestivalMozaic.com festivalmozaic.com Hollywood Bowl Hollywood, CA June 18 – September 25 one of the largest natural amphitheaters in the world, with a seating capacity of nearly 18,000, the Hollywood Bowl has been the summer home of the los angeles philharmonic since its official opening in 1922. artistic direction: gustavo dudamel Festival conductors: lionel Bringiuer; george daugherty; gustavo dudamel; george Fenton; rafael Frühbeck de Burgos; grant gershon; pablo Heras-casado; pietari inkinen; nicholas mcgegan; david newman; John morris russell; leonard Slatkin; Bramwell tovey; thomas Wilkins; John Williams Festival artists: richard Bona, bass; daniel müller-Schott, cello; Sir James galway, flute; emanuel ax, Spencer day, leon Fleisher, david Fray, alexander gavrylyuk, Herbie Hancock, Stephan Hough, Katia labèque, marielle labèque, gabriela montero, piano; richard elliot, michael lington, marion meadows, Wayne Shorter, paul taylor, saxophone; terence Blanchard, rick Braun, trumpet; Joshua Bell, martin chalifour, Sarah chang, agustin Hadelich, Baiba Skride, violin; christine Brandes, Jimmy cliff, vince gill, Harry connick Jr., Buddy guy, B.B. King, Baaba maal, Brian mcKnight, Kelley o’connor, natascha petrinsky, omara portuondo, dianne reeves, Jessica rivera, Smokey robinson, patrice rushen, vocalist Featured groups: aBBa: the music; the chemical Brothers; count Basie orchestra; dave douglas Big Band; dave Holland Big Band; diavolo; dirty dozen Brass Band; earth, Wind & Fire; Femi Kuti & the positive Force; Fool’s gold; goldfrapp; Hollywood Bowl orchestra; los angeles master chorale; lula Washington dance theatre; mariachi reyna de los angeles; mtl express; neville Brothers; orquesta Buena vista Social club; ozomatli; pink martini; preservation Hall; rnr; tinariuen; try mcintyre project; u.S. Herald trumpets orchestra affiliation: los angeles philharmonic For Information: arvind manocha, chief operating officer 2301 n. Highland ave., Hollywood, ca 323 850 2000 hollywoodbowl.com Music Academy of the West Summer School and Festival Santa Barbara, CA June 21 – August 14 each June, more than 130 gifted young classical singers and instrumentalists gather for eight

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Music@Menlo Atherton, Menlo Park, Palo Alto, CA July 23 – August 14 Founded by david Finckel and Wu Han, music@ menlo is the San Francisco Bay area’s premier chamber music festival. now in its eighth year, music@menlo is renowned for engaging, thematic programming performed by a roster of world-class artists. artistic direction: david Finckel and Wu Han Festival artists: randall Scarlata, baritone; Scott pingel, bass; dennis godburn, bassoon; david Finckel, ralph Kirshbaum, laurence lesser, cello; todd palmer, clarinet; tara Helen o’connor, flute; Jason vieaux, guitar; Bruce adolphe, ara guzelimian, r. larry todd, robert Winter, lecturer; Jonathan Fischer, oboe; christopher Froh, ayano Kataoka, percussion; inon Barnatan, alessio Bax, Wu Han, Jeffrey Kahane, gilbert Kalish, Ken noda, piano; Sasha cooke, soprano; matthew plenk, tenor; Jorja Fleezanis, lily Francis, ani Kavafian, erin Keefe, philip Setzer, arnaud Sussmann, ian Swensen, violin; lily Francis, Beth guterman, erin Keefe, viola Featured groups: Jupiter String Quartet (daniel mcdonough, cello; liz Freivogel, viola; megan Freivogel, nelson lee, violin); miró Quartet ( Joshua gindele, cello; John largess, viola; daniel ching, Sandy Yamamoto, violin) For Information: edward p. Sweeney, executive director 50 valparaiso ave., atherton, ca 94027 650 330 2030, 650 330 2016 (fax) info@musicatmenlo.org musicatmenlo.org Music in the Mountains SummerFest Grass Valley, CA June 5 – July 3 enjoy a Sierra Foothills summer musical celebration, including americana, mexican mariachi, country Western, award-winning Banjo, mozart, and more! music in the mountains presents dazzling entertainment for everyone. artistic direction: classical, jazz and pops presentations Festival conductors: gregory vajda Festival artists: Bela Fleck, banjo; richard Zeller, baritone; edgar meyer, bass/composer; doc Severinsen, trumpet; Jeffrey Biegel, pianist/ composer; veronika Kincses, soprano; Zakir americanorchestras.org

Summer

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Festivals

weeks in Santa Barbara to study and make music with illustrious guest artists and faculty—all to the delight of participating audiences.

Festival conductors: daniel Hege; Jeffrey Kahane; george manahan; nicholas mcgegan; peter oundjian; larry rachleff Festival artists: christopher taylor, piano Featured groups: takacs Quartet For Information: tim dougherty, communications manager music academy of the West 1070 Fairway road, Santa Barbara, ca 93108 805 969 4726, 805 969 0686 (fax) festival@musicacademy.org musicacademy.org See our ad on page 48

Hussain, tabla Featured groups: Kronos Quartet; nevada county composers cooperative; riders in the Sky; third angle For Information: marge rath, executive director/ceo amaral Family Festival center at the nevada county Fairgrounds, 11228 mccourtney road grass valley, ca 95945 530 265 6124 (box office), 530 265 6810 (fax) marge@musicinthemountains.org musicinthemountains.org Ojai Music Festival Ojai, CA June 10 – 13 World renowned for adventurous programming, ojai welcomes composer/conductor george Benjamin as music director with the preeminent ensemble modern. Set in the enchanting ojai valley, the 64th festival season explores Benjamin’s musical influences including messiaen and Boulez, plus his own major works including the West coast premiere of into the little Hill. artistic direction: thomas W. morris Festival conductors: george Benjamin, Brad lubman Festival artists: dietmar Wiesner, flute; Hilary Summers, mezzo soprano; eric Huebner, ueli Wiget, piano; anu Komsi, soprano Featured groups: Wildcat viols orchestra affiliation: ensemble modern For Information: Jeffrey Haydon, executive director p.o. Box 185, ojai, ca 93024 805 646 2094, 805 646 6037 (fax) info@ojaifestival.org ojaifestival.org Pacific Symphony’s Summer Festival Irvine, CA July 4 – September 11 an orange county tradition under the stars at the verizon Wireless amphitheatre...bring food, wine, friends, and family! artistic direction: carl St. clair Festival conductors: carl St.clair; richard Kaufman; maxim eshkenazy; robert moody Festival artists: Benjamin pasternack, piano; Jim curry, vocalist Featured groups: cirque de la Symphonie; time for three orchestra affiliation: pacific Symphony For information: 3631 S. Harbor Blvd., Ste 100 Santa ana, ca 92704 714 755 5799 pacificsymphony.org

San Francisco Symphony Summer & the Symphony San Francisco, CA July 8 – 24 the San Francisco Symphony’s Summer & the Symphony classical concerts at davies Symphony Hall focus on individual composers and themes, including Beethoven, tchaikovsky, a “new World” program and an all-russian program. artistic direction: michael tilson thomas Festival conductors: donato cabrera, alondra de la parra, arnie roth Festival artists: lucas meachem, baritone; gordon Hawkins, bass-baritone; Benjamin Hochman, Joyce Yang and Sara davis Buechner, piano; alyson cambridge, soprano; chad Hoopes, violin; idina menzel, vocalist; and members of the uc Berkeley marching Band Featured groups: San Francisco Symphony, pink martini orchestra affiliation: San Francisco Symphony For Information: San Francisco Symphony Box office 201 van ness avenue, San Francisco, ca 94102 415 864 6000 tickets@sfsymphony.org sfsymphony.org and community.sfsymphony.org

COLOR ADO

Aspen Music Festival and School Aspen, CO July 1 – August 22 america’s premier music festival. presenting more than 350 musical events during its eight-week summer season and drawing top classical musicians from around the world for an unparalleled combination of performances and music education. artistic direction: david Zinman, music director Festival conductors: andrey Boreyko. James conlon, James depreist, Jeffrey Kahane, nicholas mcgegan, peter oundjian, david robertson and leonard Slatkin Festival artists: christopher rouse, composerin-residence; vladimir Feltsman, marc-andre Hamelin, Joyce Yang, Yuja Wang, piano; and Joshua Bell, Sarah chang, Julia Fischer, choliang lin, robert mcduffie, gil Shaham, violin.

Featured groups: american String Quartet, emerson String Quartet, takács Quartet For Information: laura Smith, director of communications 2 music School road, aspen, co 81611 970 925 3254, 970 920 1642 (fax) festival@aspenmusic.org aspenmusicfestival.com Bravo! Vail Valley Music Festival Vail, CO USA June 25 – August 3 With the return of the dallas Symphony orchestra, the philadelphia orchestra, the new York philharmonic, chamber music, and Yo-Yo ma and Kathryn Stott in recital, Bravo! has established vail as today’s leading musical landmark in america.

Festival conductors: marin alsop; andrey Boreyko; charles dutoit; alan gilbert; rossen

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Colorado College Summer Music Festival Colorado Springs, CO June 7 – 27 international faculty and advanced student musicians participate in small chamber ensembles, orchestra, master classes, concerto readings, and private lessons. concert series includes three festival orchestra concerts and numerous small ensemble performances. artistic direction: Susan grace Festival conductors: Scott Yoo Festival artists: John rojak, bass trombone; michael Kroth, bassoon; eric Kim, Bion tsang, cello; Bil Jackson, Jon manasse, clarinet; Susan cahill, double bass; elizabeth mann, flute; Stewart rose, michael thornton, horn; robert Walters, oboe/english horn; anne epperson, Jon nakamatsu, John novacek, piano; Kevin cobb, trumpet; phillip Ying, viola; toby appel, viola/ violin; mark Fewer, Stefan Hersh, daniel phillips,

Summer

2010

Festivals

milanov; ludovic morlot; carl topilow; Bramwell tovey; Jeff tyzik; Jaap van Zweden Festival artists: eric owens, bass; peter Kolkay, bassoon; Zuill Bailey, carter Brey, Yo-Yo ma, Sophie Shao, cello; ricardo morales, clarinet; Joan tower, composer; peter lloyd, double bass; eugenia Zukerman, flute; Yolanda Kondonassis, harp; Kathleen mcintosh, harpsichord; Kristine Jepson, mezzo soprano; lydia artymiw, inon Barnatan, Jonathan Biss, Jeremy denk, alexander gavrylyuk, Kathryn Stott, orion Weiss, piano; Branford marsalis, saxophone; nicole cabell, emily magee, soprano; gordon gietz, tenor; rebecca albers, viola; chee-Yun, Stefan Jackiw, Jennifer Koh, anne akiko meyers, nadja Salerno-Sonnenberg, gil Shaham, nikolaj Znaider, violin; dee daniels, doug laBrecque, christiane noll, vocalist Featured groups: aeolus String Quartet; Brass Quintet; daedalus String Quartet; dallas Symphony orchestra; m5, national repertory orchestra; new York philharmonic; rossetti String Quartet; the philadelphia orchestra For Information: meredith richards, marketing and public relations 2271 north Frontage road West, Suite c vail, co 81657 970 827 5700, 970 827 5707 (fax) mrichards@vailmusicfestival.org vailmusicfestival.org

Stephen rose, violin For Information: Bonnie clark, Summer music Festival Secretary the colorado college Summer music Festival 14 east cache la poudre Street colorado Springs, co 80903-3294 719 389 6010, 719 389 6955 (fax) festival@coloradocollege.edu artsFestival.coloradocollege.edu/musicfestival Colorado Music Festival Boulder, CO June 26 – August 6 led by internationally-renowned music director michael christie, the colorado music Festival entertains audiences of all ages by presenting classical and world music performed by extraordinary professional musicians at historic chautauqua auditorium. artistic direction: michael christie, music director Festival conductors: michael christie; lawrence golan; david lockington Festival artists: Zoe Keating, Bjorn ranheim, cello; William Barton, didgeridoo; david Krakauer, klezmer clarinet; valentina lisitsa, peter Serkin, orion Weiss, piano; Jane eaglen, soprano; Jake Shimabukuro, ukulele; Kyoko takezawa, calin lupanu, violin Featured groups: dr. ralph Stanley & His clinch mountain Boys; ljova and the Kontraband; raul Jaurena’s tango Sinfónico; Solas; St. martin’s chamber choir; time for three For Information: catherine underhill, executive director 900 Baseline rd. cottage 100 Boulder, co 80302 303 449 1397, 303 449 0071 (fax) cmf@coloradomusicfest.org coloradomusicfest.org Crested Butte Music Festival

Sarah Chang

Opening Night * Saturday, June 26

Strings Festival Orchestra with Conductor Andrés Cárdenes

Chamber Music * World * Jazz * Americana June thru August

Steamboat Springs, CO www.stringsmusicfestival.com

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Crested Butte, CO July 3 – August 5 cBmF entertains and educates audiences with world-class musicians in symphony, opera, chamber, jazz, and bluegrass in venues in crested Butte, mt. crested Butte, gothic, and lake city. artistic direction: alexander Scheirle Festival conductors: Jens georg Bachmann and david Syrus Festival artists: arkady Shilkloper, alphorn; Keith miller, bass-baritone; drew emmitt and Billy nershi duo, Shannon Whitworth, bluegrass; eddie daniels, clarinet; paul Bisacia, Joyce Yang, piano; Sid Hausman, cowboy poet Featured groups: alpen Brass; Bearfoot Bluegrass Band; Blue Highway; the eddie daniels Quartet; dr. ralph Stanley & His clinch mountain Boys; Sally miner String Quartet; Springcreek Bluegrass Band; the two man gentlemen Band For Information: emily tetzlaff, director of operations p.o. Box 2117, 308 third Street crested Butte, co 81224 970 349 0619, 970 349 0620 (fax) Emily@crestedbuttemusicfestival.com crestedbuttemusicfestival.com Music in the Mountains Durango & Pagosa Springs, CO July 10 – August 1 music in the mountains celebrates its 24th festival season of orchestra, chamber and conservatory performances. nationally recognized musicians and international soloists perform in multiple venues in the San Juan mountains, Southwest colorado artistic direction: gregory Hustis, artistic director Festival conductors: guillermo Figueroa, conductor and music director; carl topilow, guest conductor Festival artists: natalie macmaster, fiddle, gregory Hustis, horn; erin Hannigan, oboe; elena Baksht, aviram reichert, piano; dmitry Berlinski, vadim gluzman, violin Featured groups: natalie macmaster For Information: Susan lander, executive director 1063 main avenue p.o. Box 3751, durango, co 81302 970 385 6820, 970 382 0982 (fax) susanl@musicinthemountains.com musicinthemountains.com Strings Music Festival Steamboat Springs, CO June 26 – August 21 opening night featuring soloist Sarah chang kicks off the 23rd season of Strings music Festival on June 26. Festival orchestra repertoire features the music of Beethoven, Bruch, rossini, and vivaldi. artistic direction: andrés cárdenes and monique mead Festival conductors: andrés cárdenes Festival artists: desmond Hoebig, ronald thomas, anne martindale Williams, cello; mark nuccio, clarinet; William vermeulen, horn; Wendy chen, david deveau, ian Hobson, gilles vonsattel, Haochen Zhang, piano; rebecca

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Hartford Symphony Orchestra’s Talcott Mountain Music Festival Simsbury, CT June 25 – July 16 enjoy a picnic with family and friends and relax under the stars at the HSo’s annual talcott mountain music Festival. From mozart to motown and doo-wop to hip-hop, this festival combines the magnificent sounds of the HSo with the picturesque setting of Simsbury, ct. artistic direction: HSo music director edward cumming Festival conductors: edward cumming; victor vanacore; guest conductors tBa Featured groups: classical mystery tour; Spectrum orchestra affiliation: Hartford Symphony orchestra For Information: HSo ticket Services performing arts center at Simsbury meadows 22 iron Horse Boulevard, Simsbury, ct 06070 860 244 2999 info@hartfordsymphony.org hartfordsymphony.org

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Sarasota Music Festival Sarasota, FL May 30 – June 19 the Sarasota music Festival attracts the best up-and-coming classical musicians and faculty performers from around the world each June for three weeks of master classes and chamber music performances. artistic direction: robert levin orchestra affiliation: Sarasota orchestra For Information: roseanne mccabe, education director 709 n. tamiami tr., Sarasota Fl 34236 941 953 4252, 941 953 3059 (fax) rmccabe@sarasotaorchestra.org sarasotamusicfestival.org

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albers, roberto díaz, viola; andrés cárdenes, Sarah chang, arturo delmoni, elissa Koljonen, monique mead, violin Featured groups: colorado State university chorus, gryphon trio For Information: Kay clagett, executive director 900 Strings road, po Box 774627 Steamboat Springs, co 80477 970 879 5056, 970 879 7460 (fax) kay@stringsmusicfestival.com stringsmusicfestival.com See our ad on page 50

pap, claudia cagnassone, violin Featured groups: mont Blanc chamber orchestra; Symphony of the americas orchestra affiliation: Symphony of the americas For Information: renee laBonte, executive director 199 n. ocean Blvd. # 200 pompano Beach, Fl 33062 954 545 0088, 954 545 9088 (fax) sympamer@aol.com symphonyoftheamericas.org

G E O RGIA

Atlanta Symphony Orchestra at Verizon Wireless Amphitheatre at Encore Park Atlanta, GA July 4 – August 14 Features a July 4 evening of patriotic singalongs; planet earth, a groundbreaking BBc documentary; Broadway rocks, an evening of Broadway favorites; disney in concert; and the complete Wizard of oz, with tcm host robert osborne.

Festival conductors: george Fenton, michael Krajewski, Bridget reischl, others tBa. orchestra affiliation: atlanta Symphony orchestra For Information: melissa Sanders, director of public and media relations verizon Wireless amphitheatre at encore park 2200 encore parkway, alpharetta, ga 30009 404 733 5010 vzwamp.com

ID A HO

Sun Valley Summer Symphony Sun Valley, ID July 26 – August 17

now in its 26th season, the Sun valley Summer Symphony performs free orchestra and chamber music concerts in the world-class Sun valley pavilion. artistic direction: alasdair neale Festival conductors: randall craig Fleischer, guest pops conductor Festival artists: nathan gunn, baritone; michael collins, clarinet; emanuel ax, Shai Wosner, piano; Jennifer Koh, itzhak perlman, violin Featured groups: Broadway rocks!

For Information: Jennifer teisinger, executive director p.o. Box 1914, Sun valley, id 83353 208 622 5607, 208 622 9149 (fax) info@svsummersymphony.org svsummersymphony.org

ILLIN OIS

Grant Park Music Festival Chicago, IL June 16 – August 21 located in chicago’s renowned millennium park, the grant park music Festival has been presenting ten weeks of free, innovative classical concerts since 1935. artistic direction: carlos Kalmar Festival conductors: christopher Bell, chorus director; george Fenton, guest conductor; Hans graf, guest conductor; Henry godinez, guest chorus director; miguel Harth-Bedoya, guest conductor; carlos Kalmar, principal conductor; Julian Kuerti, guest conductor; Hannu lintu, guest conductor; Kathy romey, guest chorus director, Krzysztof urbański, guest conductor; Xian Zhang, guest conductor Festival artists: Kathryn leemhuis, alto; Kyle Ketelsen, paul Whelan, bass; alban gerhardt, cello; toumani diabaté, kora; anita Krause, allyson mcHardy, alexandra petersamer, mezzosoprano; markus groh, Horacio gutierrez, piano; layla claire, Karina gauvin, Jonita lattimore, amber Wagner, soprano; Bryan griffin, garrett Sorenson, tenor; christian tetzlaff, elina vähälä, violin; eduardo galeano, writer Featured groups: artists of the goodman theater; artists of the ryan opera center; lane alexander and ensemble; planet earth, BBc nature Film; pink martini

Evening at the Pritzker Pavilion during Chicago’s Grant Park Music Festival.

Symphony of the Americas Summerfest Florida (performances also in Argentina, Brazil, Panama, and Switzerland) July 6 – August 10 Summerfest hosts european orchestras joined by musicians of the Symphony of the americas for cultural exchange concerts in europe, Florida, and the americas. mont Blanc chamber orchestra of France in residence, 2010.

Festival conductors: James Brooks-Bruzzese Festival artists: marilyn maingart, flute; laszlo americanorchestras.org

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Maud Powell Music Festival Mendota, IL June 21 – August 7 maud powell music Festival brings top-quality performances and education to the midwest.

Special events include two children’s musicals and a three-state recital tour, including illinois, michigan, and Wisconsin. artistic direction: dr. Kevin r. mcmahon Festival conductors: michael alexander, david e. Becker, david leibowitz, Kevin mcmahon, Shawn mcmahon, chris Sheppard Festival artists: Wayne Hanmer, baritone; michael allen, Bennett randman, cello; Kevin mcmahon, composer/violin; richard Beyers, handbells; louise Basal, li-Shan Hung, mary Schallhorn, piano; daniella carvahlo, loren mcmahon, carol Shamory, soprano; William Farlow, stage director; Shawn Weber, stage director/soprano; larry glenn, stage director/tenor; allyson Fleck, viola; robert mcnally, violin; elli martysz, voice; calla martysz, voice/percussion Featured groups: marquette country chamber chorale; marquette male chorus; maud powell children’s chorus; maud powell Quartet For Information: mary Schallhorn, general director p.o. Box 501, peru, il 61354 815 638 2495 mpmf@hughes.net powellfest.com Ravinia Festival Highland Park, IL June 3 – September 6 ravinia Festival presents more than 130 events from June to September, including performances of annie get Your gun, the marriage of Figaro, cosi fan tutte and the summer residency of the chicago Symphony orchestra. artistic direction: James conlon, Welz Kauffman Festival conductors: John axelrod; James conlon; christoph eschenbach; paul gemignani; arnie roth; pinchas Zukerman Festival artists: paul corona, ildebrando d’arcangelo, bass; John del carlo, bass-baritone; amanda Forsyth, lawrence lesser, Yo-Yo ma, cello; david Shifrin, clarinet/flute; Jane Bunnell, ruxandra donose, Kathryn leemhuis, lauren mcneese, Frederica von Stade, mezzo-soprano; ozgur aydin, marta aznavoorian, tzimon Barto, Jonathan Biss, cipa dichter, misha dichter, christoph eschenbach, leon Fleisher, Jeffrey Kahane, Welz Kauffman, andreas Klein, alexander Kobrin, vakhtang Kodanashvili, Josephine lee, denis matsuev, John novacek, garrick ohlsson, Jorge Federico osorio, edisher Savitski, nobuyuki tsujii, orion Weiss, Joyce Yang, Brian Zeger, piano; christine Brewer, anna christy, rebecca evans, renee Fleming,

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orchestra affiliation: grant park orchestra For Information: tony macaluso, director of marketing and patron Services 205 e. randolph dr., chicago, il 60601 312 742 7638, 312 742 7662 (fax) tony.macaluso@cityofchicago.org grantparkmusicfestival.com

aleksandra Kurzak, ana maria martinez, Kiri te Kanawa, lei Xu, arianna Zukerman, soprano; John aler, nicholas phan, Saimir pirgu, John treleaven, tenor; Kim Kashkashian, paul Biss, viola; Joshua Bell, miriam Fried, leila Josefowicz, ida Kavafian, midori, tianwa Yang, pinchas Zukerman, violin; michael cerveris, Kim criswell, patti lupone, audra mcdonald, Bobby mcFerrin, Kelli o’Hara, Brian Stokes mitchell, vocalist Featured groups: the Baroque Band; chanticleer; chicago children’s choir; chicago Symphony chorus; claremont trio; emerson String Quartet; illinois Symphony orchestra; Juilliard String Quartet; the Knights; new millennium orchestra; pacifica Quartet orchestra affiliation: chicago Symphony orchestra For Information: ravinia Festival Box office 418 Sheridan road, Highland park, il 60035 847 433 5100, 847 433 7983 (fax) ravinia@ravinia.org ravinia.org Southern Illinois Music Festival Carbondale, Marion, and other Illinois locations June 6 – 27 orchestral and chamber music, opera, ballet, and jazz across Southern illinois. the theme for 2010 is “romeo & Juliet” and other tales of tragic romance. gounod, prokofiev, and pops at the park. artistic direction: edward Benyas Festival conductors: edward Benyas Festival artists: michael Barta, violin For Information: edward Benyas, artistic director Southern illinois music Festival School of music, m.c. 4302 Southern illinois university carbondale, il 62901-4302 618 453 2776, 618 453 5808 (fax) benyas@siu.edu sifest.com Woodstock Mozart Festival Woodstock, IL July 31 – August 15 mozart and more! chamber orchestra, ensemble and recital performances in the historic 1880s Woodstock opera House just 60 miles from chicago. artistic direction: anita Whalen Festival conductors: arthur arnold; mark peskanov; Jeffrey Swann Festival artists: Jeffrey Swann, piano; doyle armbrust, Kyle armbrust, viola; mark peskanov, violin

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For Information: anita Whalen, general director p.o. Box 734, Woodstock, il 60098 530 983 7072, 630 717 7782 (fax) mozartfest@aol.com mozartfest.org

IN DIAN A

Indiana University Summer Music Festival Bloomington, IN June 19 – August 10 more than 35 performances on the beautiful iu Bloomington campus, including the Festival orchestra (conducted this year by Xian Zhang, lawrence renes, and giancarlo guerrero), the uSa Harp competition, and chamber music by world renowned ensembles. artistic direction: gwyn richards, dean Festival conductors: cliff colnot, giancarlo guerrero, Stephen pratt, lawrence renes, and Xian Zhang Festival artists: eric Kim, csaba onczay, cello; chih-Yi chen, Jeannette Koekkoek, menahem pressler, cory Smythe, Yael Weiss, piano; atar arad, viola; erin aldridge, Sarah caswell, Jorja Fleezanis, mark Kaplan, alex Kerr, violin Featured groups: afiara Quartet; Festival Band; Festival orchestra; Kalichstein-laredo-robinson trio; penderecki Quartet; pressler and Friends; rubens Quartet; Shanghai Quartet; iu Symphony orchestra; Weiss-Kaplan-newman trio For Information: alain Barker, director, marketing and publicity iu Jacobs School of music 1201 east third St., Bloomington, in 47405 812 855 9846, 812 855 9847 (fax) musicpub@indiana.edu music.indiana.edu/summer Marsh Symphony on the Prairie Series Fishers, IN June 19 – September 5 the indianapolis Symphony orchestra’s 28th season of outdoor summertime concerts features 12 weeks of orchestral and pops performances under the stars at the conner prairie amphitheater.

Festival conductors: Jack everly, marvin Hamlisch, alfred Savia, ludovic morlot, Sean newhouse Festival artists: ranaan meyer, contrabass; Zach de pue, nick Kendall, violin Featured groups: classical mystery tour, duke ellington orchestra, river city Brass Band, time for three, music of John denver, music of michael Jackson, river city Brass Band orchestra affiliation: indianapolis Symphony orchestra For Information: Brian Seitz, customer care manager 13400 n. allisonville rd., Fishers, in 46038 317 639 4300, 317 236 4900 (fax) bseitz@indianapolissymphony.org indianapolissymphony.org South Shore Summer Music Festival Northwest Indiana, IN June 26 – July 31 Join the northwest indiana Symphony for the fourth annual South Shore Summer music

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Bar Harbor Music Festival Bar Harbor, ME July 2 – 25 Hailed as “one of new england’s great music festivals,” now in its 44th season in a spectacular setting. Highlights will include madame Butterfly and the 27th annual “new composers” concert featuring Basso moderno duo performing music by radiohead, ned rorem, lee Hoiby, and Yoko ono, among others. artistic direction: Francis Fortier Festival conductors: cara chowning, music director, Festival opera theatre; Francis Fortier, conductor, Bar Harbor Festival String orchestra Festival artists: Jimmy mazzy, banjo; ryan taylor, baritone; John clark, clarinet/saxophone; allan von Schenkel, double bass; Jessica Hulldambaugh, flute; Frank Jacobson, harpsichord; ryu-Kyung Kim, Fenlon lamb, mezzo soprano; cara chowning, christopher Johnson, inesa Sinkevych, Kristen Williams, piano; Shana Blake Hill, soprano; tim culver, Scott Scully, tenor; Jeffrey ellenberger, Francis Fortier, violin Featured groups: Bar Harbor Festival String orchestra, Basso moderno duo, Brass venture, Festival opera theatre, mount desert Summer chorale, david Schildkret, director, Wolverine Jazz Band orchestra affiliation: Bar Harbor Festival String orchestra For Information: deborah Swanger Fortier, artistic administrator 741 West end avenue, Suite 4-B new York, nY 10025-6222 after June 21: the rodick Building, 59 cottage Street Bar Harbor, me 04609-1800 212 222 1026; 207 288 5744 (after June 21) 212 222 3269; 207 288 5886 (fax) (after June 21) info@barharbormusicfestival.org barharbormusicfestival.org

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Montgomery Philharmonic 3rd Annual Summer Reading Sessions Gaithersburg, MD June 21 – August 2 Free! Fun! embodying our spirit of volunteerism, SrS musicians romp through major orchestral works and one new work in a relaxed atmosphere. pictures, temperaments, reformation, miracles… new World… Join us! artistic direction: Sandra ragusa americanorchestras.org

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Festival, offering free concerts in communities across lake and porter counties. performing a mix of americana, light classical, and Broadway favorites. artistic direction: Kirk muspratt Festival conductors: Kirk muspratt orchestra affiliation: northwest indiana Symphony orchestra For Information: tammie miller, marketing coordinator 1040 ridge road, munster, in 46321 219 836 0525 info@nisorchestra.org NISOrchestra.org

Festival conductors: Sandra ragusa orchestra affiliation: montgomery philharmonic For Information: amanda laudwein, Strings manager gaithersburg presbyterian church 610 South Frederick avenue gaithersburg, md 20877 240 398 8870 info@montgomeryphilharmonic.org montgomeryphilharmonic.org The River Concert Series St. Mary’s City, MD June 18 – July 30 Beginning its 12th season the river concert Series, featuring the chesapeake orchestra, Jeffrey Silberschlag, music director, and renowned performers, provides award-winning free, outdoor concerts to audiences of more than 35,000. artistic direction: Jeffrey Silberschlag Festival conductors: Jeffrey Silberschlag and larry vote, guest conductor Festival artists: nicholas masters, bass; giuseppe nova, flute; orlando roman, guitar; olivia vote, mezzo-soprano; Jeffrey chappell, Brian ganz, piano; michele Johnson, soprano; Zach Borichevsky, tenor; Young artists concerto competition Winner and others Featured groups: Sax Quartet from the “president’s own marine Band” orchestra affiliation: chesapeake orchestra For Information: Barbara Bershon, executive director 18952 e. Fisher road, St. mary’s city, md 20686 240 895 4107, 240 895 2201 (fax) blbershon@smcm.edu riverconcertseries.com See our ad on page 59

M A SS ACH U SETTS

Berkshire Choral Festival Sheffield, MA July 17 – August 7 exciting performances of choral-orchestral masterpieces by Haydn, poulenc, Brahms, lauridsen, Handel, rutter, Bizet. Heinz Ferlesch will conduct Handel’s Judas maccabaeus on July 17. grant gershon will conduct lauridsen’s lux aeterna and Haydn’s mass in time of War on July 24. on July 31, vance george conducts an all-Brahms evening. anton armstrong will conduct poulenc’s gloria, rutter’s te deum, and Bizet’s te deum on august 7. artistic direction: Frank nemhauser Festival conductors: anton armstrong, Heinz Ferlesch, grant gershon, music director, vance george, conductor emeritus orchestra affiliation: Springfield Symphony orchestra

For Information: debi Kennedy, interim president & ceo 245 north undermountain road Sheffield, ma 01257 413 229 8526, 413 229 0109 (fax) bcf@choralfest.org choralfest.org Landmarks Festival at the Shell Boston, MA July 14 – September 3 Boston landmarks orchestra’s 2010 landmarks Festival at the Shell will feature pieces by Beethoven at every concert. concerts take place every Wednesday night. artistic direction: charles ansbacher Festival conductors: charles ansbacher orchestra affiliation: Boston landmarks orchestra For Information: marjorie rochon, account manager dcr Hatch Shell 1 david g. mugar Way, Boston, ma 02114 617 267 7366, 617 267 7612 (fax) marjorie@harronandassociates.com landmarksorchestra.org Rockport Music Rockport, MA June 10 – July 18 Founded in 1981, rockport music celebrates the opening of the Shalin liu performance center with 20 classical chamber-music concerts, including performances by violinist midori and pianist garrick ohlsson. artistic direction: david deveau Festival artists: paul Hecht, actor; Stephen Salters, baritone; eddie gomez, bass; anne martindale Williams, michael reynolds, cello; richard Stoltzman, clarinet; paula robison, flute; eric ruske, horn; mike Yoshida, marimba; leslie amper, ozgur aydin, david deveau, randall Hodgkinson, alpin Hong, garrick ohlsson, gilles vonsattel, piano; principal winds from the Boston Symphony orchestra; pamela dellal, Jacqueline Horner-Kwiatek, mezzo-soprano; Katherine murdock, ari rudiakov, viola; andrés cárdenes, Joana genova, marc-andré Hamelin; midori, Bayla Keyes, violin Featured groups: Biava Quartet, Borromeo String Quartet, Boston Brass, Boston musica viva, Brentano String Quartet, cantus, imani Winds, Jupiter String Quartet, parthenia, the Boston trio For Information: gregg Sorensen, director of marketing 37 main Street, rockport, ma 01966 978 546 7391, 978 546 8351 (fax) info@rockportmusic.org rockportmusic.org Tanglewood Music Festival Lenox, MA June 26 – September 5 considered one of the world’s internationally acclaimed and preeminent summer music festivals, tanglewood attracts more than 300,000 music lovers for 10 weeks of concerts and recitals. artistic direction: James levine Festival conductors: charles dutoit, rafael

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Fruhbeck de Burgos, giancarlo guerrero, miguel Harth- Bedoya, James levine, Keith lockhart, Susanna mälkki, Kurt masur, ludivic morlot, Seiji ozawa, robert Spano, Shi-Yeon Sung, christoph von dohnanyi, John Williams, david Zinman Festival artists: nicole cabell, layla claire, ashley emerson, arlo guthrie, Soile isokoski, garrison Keillor, carole King, audra mcdonald, lisette oropesa, robert osborne, James taylor; Jordan Bisch, morgan robinson, bass; John relyea, bass-baritone; matthias goerne, baritone; lynn Harrell, Steven isserlis, Yo-Yo ma, alisa Weilerstein, pieter Wispelwey, cello; elizabeth rowe, flute; Stephanie Blythe, Karen

cargill, Bernarda Fink, Kristine Jepson, marietta Simpson, mezzo-soprano; emanuel ax, pierre laurent aimard, Jeremy denk, Kirill gerstein, richard goode, andreas Haeflinger, garrick

ohlsson, gerhard oppitz, peter Serkin, anthony Spiri, Jean-Yves thibaudet, piano; dawn upshaw, soprano; eric cutler, marcus Haddock, anthony Stevenson, russell thomas, tenors; Steven ansell, viola; adele anthony, Joshua Bell, Hilary Hahn, gil Shaham, pincus Zukerman, violin; Benjamin Bagby, voice and harp Featured groups: australian chamber orchestra, ebene String Quartet, emerson String Quartet, Kalichstein-laredo-robinson trio, mark morris dance group orchestra affiliation: Boston Symphony For Information: Kathleen drohan 301 massachusetts avenue, Boston, ma 02115 617 266 1200 tanglewood.org See our ad on page 54

MICH IGAN

Maud Powell Music Festival See listing under illinois

james levine music director

Salute to America Dearborn, MI July 1 – 4 artistic direction: Keith Koppmeier Festival conductors: Steven reineke orchestra affiliation: detroit Symphony orchestra For Information: Keith Koppmeier, popular & community programming administrator 1137 Woodward ave., detroit, mi 48201 313 576 5125 kkoppmeier@dso.org detroitsymphony.com Summer Nights at the Meadow Brook Music Festival Auburn Hills, MI July 22 – August 1 this outdoor summer festival takes place over two weekends: July 22-23 and July 30-august 1 artistic direction: Keith Koppmeier Festival artists: detroit Symphony orchestra orchestra affiliation: detroit Symphony orchestra For Information: Keith Koppmeier, popular & community programming administrator 3711 Wooodward ave., detroit mi 48201 313 576 5125, 313 576 5101 (fax) kkoppmeier@dso.org detroitsymphony.com

MIN N ESOTA

The Bank of America Charitable Foundation is proud to support Tanglewood and its education initiatives for Massachusetts students.

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Minnesota Beethoven Festival Winona, MN June 27 – July 18 the fourth annual minnesota Beethoven Festival, held in the beautiful bluff country of Winona, minnesota, includes nine different concerts showcasing orchestral, choral, and chamber music performed by some of the great artists of our time. artistic direction: ned Kirk Festival conductors: Sarah Hicks, osmo vänskä, dale Warland Festival artists: Yo-Yo ma, cello; craig Sheppard,

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Sommerfest Minneapolis, MN July 9 – 31 artistic director andrew litton launches his eighth summer with the minnesota orchestra’s Sommerfest, conducting mahler’s Fourth Symphony, the world premiere of a jazz suite by evan christopher, and puccini’s tosca artistic direction: andrew litton Festival conductors: andrew litton, osmo vänskä Festival artists: evan christopher, clarinet; ned Kirk, Jon Kimura parker, piano; vadim gluzman, violin; minnesota Boychoir; minnesota chorale; Heidi grant murphy, Stephen powell, Josh ritter, Barbara Shirvis, lizz Wright, vocalist orchestra affiliation: minnesota orchestra For Information: robert neu, general. manager orchestra Hall, 1111 nicollet mall minneapolis, mn 55403 612 371 5656, 612 371 5661 (fax) info@mnorch.org minnesotaorchestra.org

M ONTA NA

Festival Amadeus 2010 Whitefish and Kalispell, MT August 2 – 8 Festival amadeus is the premiere summer event for music and nature lovers held in the pristine grandeur of northwest montana. Seven evenings of world-class music performed by internationally-acclaimed guest artists. artistic direction: John Zoltek, music director Festival conductors: John Zoltek, conductor Festival artists: lorna mcgee, flute; Heidi Krutzen, harp; Joel Fan, piano Featured groups: Festival amadeus orchestra orchestra affiliation: glacier Symphony and chorale For Information: alan Satterlee, executive director p.o. Box 2491, Kalispell, mt 59903 406 257 3241, 406 257 5507 (fax) info@gscmusic.org gscmusic.org

N E W HA M PS H IRE

New Hampshire Music Festival Plymouth, NH July 6 – August 13 acclaimed for “passionate performances,” the festival presents emerging young conductors and guest artists with an award-winning orchestra for symphony, pops and chamber music concerts amid new Hampshire’s lakes and mountains.

Festival artists: Jose Franch-Ballester, clarinet; americanorchestras.org

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Festivals

Kathryn Stott, piano; midori, violin Featured groups: minnesota Beethoven Festival chorale, minnesota orchestra, miro Quartet, nexus, petri/Hannibal duo For Information: caroline Kirk, marketing and pr director minnesota Beethoven Festival p.o. Box 1143, Winona, mn 55987 507 457 1783 info@mnbeethovenfestival.org mnbeethovenfestival.org

andrius Zlabys, gabriela martinez, piano; Jessica rivera, soprano; and Karen gomyo, violin Festival conductors: Joana carneiro, William eddins, James gaffigan, andrew grams, Sarah Hicks, and courtney lewis For Information: debbie graham, community development officer office: 52 Symphony lane, center Harbor, nH, 03226 performances: Silver center for the arts plymouth State university, plymouth, nH 03264 603 279 3300, 603 279 3484 (fax) info@nhmf.org nhmf.org

NE W MEXICO

Santa Fe Chamber Music Festival Santa Fe, NM July 18 – August 23 the Santa Fe chamber music Festival’s 38th season runs July 18 through august 23. more than 40 concerts include 90 works performed by 63 artists and five ensembles. artistic direction: marc neikrug Festival conductors: david Zinman Festival artists: milan turkovic, bassoon; lynn Harrell, eric Kim, ralph Kirshbaum, peter Stumpf, cello; david Shifrin, clarinet; Steven Stucky, chinary ung, cynthia lee Wong, composer; Brett dean, composer/viola; tara Helen o’connor, flute; Julie landsman, horn; Susan graham, mezzo soprano; liang Wang, oboe; victor Santiago asuncion, Jeremy denk, Simone dinnerstein, Jon Kimura parker, Yuja Wang, piano; Wu man, pipa; paul groves, tenor; david Washburn, trumpet; michael tree, viola; Harvey de Souza, Jennifer Frautschi, Jennifer gilbert, ani Kavafian, cho-liang lin, William preucil, giora Schmidt, violin Featured groups: monastic choir of christ in the desert; opuS one; orion String Quartet; real Quiet For Information: Steven ovitsky, executive director po Box 2227, Santa Fe, nm 87504 505 983 2075, 505 986 0251 (fax) info@sfcmf.org santafechambermusic.com

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Bard SummerScape and Bard Music Festival Annandale-on-Hudson, NY July 8 – August 22 Bard SummerScape 2010 presents a summer season of opera, music, theater, and dance, as well as the 21st annual Bard music Festival: “Berg and His World,” in Bard’s Frank gehry-designed

Fisher center. artistic direction: leon Botstein, christopher gibbs, robert martin Festival conductors: leon Botstein, James Bagwell Festival artists: John Hancock, baritone; Jeremy denk, orion Weiss, piano; christiane libor, lisa Saffer, soprano; miranda cuckson, Soovin Kim, violin; anna polonsky, piano Featured groups: american Symphony orchestra, cygnus ensemble, daedalus Quartet, Flux Quartet orchestra affiliation: american Symphony orchestra For Information: irene Zedlacher, executive director Bard college annandale-on-Hudson, nY 12504-5000 845 758 7900, 845 758 7043 (fax) zedlacher@bard.edu fishercenter.bard.edu/summerscape/2010/ Bronx Arts Ensemble – SummerMusic 2010 Bronx, NY July 4 – August 15 ten free Sunday concerts in van cortlandt park and at Fordham university artistic direction: William Scribner Festival artists: mathew Fieldes, bass; William Scribner, bassoon; Bruce Wang, cello; mitchell Kriegler, clarinet; theresa norris, flute; Sharon moe, horn; marsha Heller, oboe; lorraine cohen, trumpet; veronica Salas, Sally Shumway, viola; Jorge avila, Francisca mendoza, violin For Information: William Scribner, executive/artistic director 80 van cortlandt park South, Suite 7d-1 Bronx, nY 10463 718 601 7399, 718 549 4008 (fax) events@bronxartsensemble.org bronxartsensemble.org Buffalo Philharmonic Orchestra: Summer in the Parks Buffalo, NY July 3 – August 1 the grammy-winning Bpo Summer in the parks series takes place throughout Western new York from the Ballpark, chestnut ridge park, niagara Falls State park, delaware park, cheektowaga town park to artpark. don’t miss your chance to hear the orchestra! artistic direction: Joann Falletta, music director Festival conductors: Joann Falletta, music director; paul Ferington, conductor; matthew Kraemer, conductor orchestra affiliation: Buffalo philharmonic orchestra For Information: Jennifer l. Smith, community relations manager 499 Franklin Street, Buffalo, nY 14202 716 885 0331, 716 885 9372 (fax) jsmith@bpo.com bpo.org Chautauqua Institution Chautauqua, NY June 26 – August 29 Founded in 1874 as a lifelong learning center

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Maverick Concerts Woodstock, NY June 27 – September 5 during its 95th season of “music in the woods,” maverick concerts will celebrate “the romantic generations…” with 22 concerts featuring the music of Barber, Schumann, chopin and others, performed by internationally renowned soloists and groups, in the historic maverick concert Hall. artistic direction: alexander platt Festival conductors: alexander platt Festival artists: Steve gorn, Bansuri flute; daron Hagen, composer; elizabeth mitchell, folk singer/ guitarist; Happy traum, guitarist/singer; Fred Hersch, jazz piano; Betty macdonald, jazz violin; Bill cahn, garry Kvistad; percussion; Joel Fan, Judith gordon, alan murchie, pedja muzijevic, mei-ting Sun, Shai Wosner, piano; maria Jette, soprano; lara St. John, violin Featured groups: amernet String Quartet; Borromeo String Quartet; ebene Quartet of paris; imani Winds; maverick chamber players; miró Quartet; opus two; parker String Quartet; Shanghai Quartet; tokyo String Quartet; trio Solisti For Information: Susan rizwani, chairperson p.o. Box 9, Woodstock, nY 12498 845 679 8317 maverickmuse@aol.com maverickconcerts.org Mostly Mozart Festival New York, NY July 27 – August 21 mostly mozart celebrates the music of mozart, Beethoven, Bach, Haydn and other classical and Baroque favorites through vocal, instrumental, dance, and multidisciplinary presentations. it showcases both established and emerging artists in an informal and exciting atmosphere. artistic direction: Jane moss Festival conductors: pierre-laurent aimard, lionel Bringuier, pablo Heras-casado, paavo

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for the arts, education, religion, and recreation, this summer destination is located on beautiful chautauqua lake presenting over 2,000 events for all ages. artistic direction: marty W. merkley Festival conductors: Stuart chafetz; grant cooper; timothy muffitt, music director, music School Festival orchestra; Stefan Sanderling, music director, chautauqua Symphony orchestra; uriel Segal Festival artists: alexander gavrylyuk, piano; ilya Kaler, Brian reagin, violin Featured groups: audubon Quartet, carducci String Quartet, chautauqua String Quartet, chautauqua Wind Quintet, new arts trio, north carolina dance theatre orchestra affiliation: chautauqua Symphony orchestra For Information: marty W. merkley, vice president & director of programming p.o. Box 28, chautauqua, nY 14722 716 357 6217, 716 357 9014 (fax) mmerkley@ciweb.org ciweb.org

Järvi, louis langrée, osmo vänskä Festival artists: pierre-laurent aimard, piotr anderszewski, emanuel ax, Jeremy denk, Stephen Hough, piano; Joshua Bell, James ehnes, violin Featured groups: chamber orchestra of europe; deutsche Kammerphilharmonie Bremen; emerson String Quartet; Freiburg Baroque orchestra; international contemporary ensemble; mark morris dance group orchestra affiliation: mostly mozart Festival orchestra For Information: Jane moss, vice president, programming 70 lincoln center plaza, new York, nY 10023 212 875 5135, 212 875 5145 (fax) programming@lincolncenter.org lincolncenter.org New York Philharmonic Concerts in the Parks and Free Indoor Concerts, Presented by Didi and Oscar Schaefer, Sponsored by Target and MetLife Foundation New York, NY July 13 – July 19 the new York philharmonic’s 46th year of free concerts under the stars, throughout the new York city area.

Festival conductors: andrey Boreyko orchestra affiliation: new York philharmonic For Information: communications department new York philharmonic avery Fisher Hall 10 lincoln center plaza, new York, nY 10023 212 875 5709 nyphil.org Summertime Classics New York, NY June 29 – July 10 the new York philharmonic’s festival of popular masterpieces hosted and conducted by Bramwell tovey, whose sparkling wit and fascinating musical insights make him a perennial audience favorite. artistic direction: John mangum Festival conductors: Bramwell tovey orchestra affiliation: new York philharmonic For Information: new York philharmonic avery Fisher Hall 10 lincoln center plaza, new York, nY 10023 212 875 5656 nyphil.org Summit Music Festival Purchase, NY July 24 – August 14

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each year, students from all over the world assemble for concentrated study with these preeminent artists. We offer an instrumental and chamber music program for high school, college, and young professionals, ages 14 and up. artistic direction: efrem Briskin Festival conductors: eduard Schmieder; Yoram Youngerman Festival artists: Stephen isserlis, nathaniel rosen, cello; victor danchenko, aaron rosand, violin; pavel nersessian, vladimir viardo, piano; roberto diaz, viola; ida Haendel, mikhail Kopelman, violin For Information: david Krieger, executive director 270 Washington ave, pleasantville, nY 10570 Festival location: manhattanville college, purchase, nY 914 747 2020, 845 279 7774 (fax) info@summitmusicfestival.org summitmusicfestival.org

N ORTH CAR OLIN A

Brevard Music Center Brevard, NC June 25 – August 8 located in the Blue ridge mountains of western north carolina, Brevard music center summer institute and festival offers programs in orchestra, piano, composition, opera, and voice. artistic direction: Keith lockhart Festival conductors: matthias Bamert, andrés cárdenes, david effron, Joann Falletta, Ken lam, Keith lockhart Festival artists: Steve cohen, clarinet; Frederica von Stade, mezzo-soprano; Barry douglas, Joseph Kalichstein, norman Krieger, Jean-louis Steuerman, piano; gil Shaham, violin Featured groups: the Harlem Quartet For Information: dorothy Knowles, admissions coordinator 349 andante lane p.o. Box 312, Brevard, nc 28712 828 862 2100, 828 884 2036 (fax) bmcadmissions@brevardmusic.org brevardmusic.org

OH IO

Cleveland Orchestra Blossom Festival Cuyahoga Falls, OH July 2 – September 5 the cleveland orchestra’s 2010 Blossom Festival includes two appearances by music director Franz Welser-möst, with programs including Brahms’s Symphony no. 2 and Schubert’s Symphony no. 4. artistic direction: elaine martone, interim artistic administrator Festival conductors: Stéphane denève, Jack everly, andrew grams, pablo Heras-casado, richard Kaufman, Jahja ling, nicholas mcgegan, Franz Welser-möst, tito muñoz, robert porco, loras John Schissel, david Zinman Festival artists: arnaldo cohen, Stephen Hough, piano; Karen gomyo, giora Schmidt, gil Shaham, violin; ann Hampton callaway, vocalist Featured groups: the canadian Brass, the Joffrey Ballet orchestra affiliation: the cleveland orchestra For Information:

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Lancaster Festival Lancaster, OH July 22 – 31 this music and arts festival celebrates its 26th season in 2010, at indoor and outdoor venues in beautiful central ohio. programs include orchestral music, chamber, pops and other musical genres. artistic direction: gary Sheldon Festival conductor: gary Sheldon Festival artists: dmitri pogorelov, associate concertmaster/violin; Jonah Kim, cello; mak grgic, guitar; olga Kern, Judith lynn Stillman, piano; John Sant’ambrogio, principal cello; Stephanie Sant’ambrogio, concertmaster, violin; others tBa Featured groups: lancaster High School percussion ensemble, veronika String Quartet, others tBa orchestra affiliation: lancaster Festival orchestra For Information: lou ross, executive director p.o. Box 1452, lancaster, oH 43130-6452 740 687 4808, 740 687 1980 (fax) lanfest@lanfest.org lanfest.org

O K LA H OM A

Summer

2010

Festivals

gary ginstling, general manager 1145 West Steels corners road cuyahoga Falls, oH 44223 800 868 1141 clevelandorchestra.com

Festival artists: nancy allen, harp; emanuel ax, Jeffrey Biegel, Jon nakamatsu, piano; Jennifer Frautschi, chee-Yun Kim, violin Featured groups: enchantment theatre orchestra affiliation: Britt Festival orchestra For Information: angela Warren, artistic administrator 216 West main St. medford, or 97501 541 779 0847 or 800 882 7488 (88Britt) 541 776 3712 (fax) classical@brittfest.org brittfest.org Chamber Music Northwest Portland, OR June 21 – July 25 the 40th annual festival presents 30 concerts, featuring works ranging from Bach and mozart to messiaen and a world premiere by Steven Stucky. artistic direction: david Shifrin, artistic director Festival artists: milan turkovic, bassoon; david Finckel, gary Hoffman, Fred Sherry, ronald

thomas, peter Wiley, cello; david Shifrin, clarinet; tara Helen o’connor, ransom Wilson, flute; John gibbons, harpsichord; William purvis, erik ruske, horn; allan vogel, oboe; vladimir Feltsman, anne-marie mcdermott, Jon Kimura parker, anna polonsky, andre Watts, orion Weiss, piano; Sylvia mcnair, soprano; toby appel, lawrence dutton, paul neubauer, cynthia phelps, Steven tenenbom, viola; eugene drucker, Jennifer Frautschi, ani Kavafian, ida Kavafian, cho-liang lin, daniel phillips, philip Setzer, arnold Steinhardt, violin Featured groups: emerson String Quartet, opus one For Information: linda magee, executive director 522 S.W. Fifth ave., Suite 920 portland, or 97204 503 223 3202, 503 294 1690 (fax) info@cmnw.org cmnw.org Oregon Bach Festival Eugene, OR June 25 – July 11 our 60-event celebration includes works by Bach, Brahms, verdi, mendelssohn, Schumann, and Bernstein; a lecture-concert exploration of the B minor mass; family and free events; “Bach and the Brain” seminar; choral teachers workshop; conducting master class artistic direction: Helmuth rilling Festival conductors: anton armstrong, craig

OK Mozart International Music Festival Bartlesville, OK June 11 – 19 the oK mozart international Festival takes place every June in Bartlesville, oklahoma. it’s an internationally acclaimed classical and chamber music concert series that also includes dance, jazz, pops, and Broadway show tunes. artistic direction: paul neubauer, music director Festival conductors: Joann Falletta, lauren green, andrew Sewell Featured groups: Bela Fleck, celtic Spring, Jacob Fred Jazz odyssey, Zakir Hussain & edgar meyer, paul neubauer’s classical all Stars chamber ensemble, time for three orchestra affiliation: amici new York For Information: Shane Jewell, executive director 500-a dewey, Bartlesville, oK 74003 918 336 9900, 918 336 9525 (fax) okmozart.com See our ad on page 57

O R E GON

Britt Festival Jacksonville, OR August 3 – 22 our 48th season of extraordinary music under the stars. moonlit evenings, intimate amphitheater, historical setting, hillside seating beneath ponderosa pines, professional 90-member symphony orchestra, world-class artists—the incomparable Britt experience! artistic direction: peter Bay, music director & conductor Festival conductors: peter Bay americanorchestras.org

w w w. o k m oz a r t . co m

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Sunriver Music Festival Sunriver, OR August 10 – 21 the Sunriver music Festival brings premier classical music to the historic great Hall in Sunriver each august for two weeks of concerts, piano masterclasses, family concerts, free rehearsals. artistic direction: lawrence leighton Smith Festival artists: 2009 van cliburn gold medalist Hao chen Zhang; Benjamin lulich, clarinet Festival conductor: lawrence leighton Smith For Information: pamela Beezley, director p.o. Box 4308, Sunriver, or 97707 541 593 9310, 541 593 6959 (fax) tickets@sunrivermusic.org sunrivermusic.org

P E N NS Y LVA NIA

Endless Mountain Music Festival Wellsboro, PA July 31 – August 15 a sixteen-day festival featuring world-class international guest artists and musicians led by artistic director Stephen gunzenhauser. daily recitals or orchestra performances in beautiful northern pennsylvania and southern new York. artistic direction: Stephen gunzenhauser Festival conductors: Stephen gunzenhauser Festival artists: marcelo nisinman, international composer/bandoneon; Santiago rodriquez, Bram Wijnands, piano; rodney mack, trumpet; odin rathnam, violin; gregory Sandomirsky, violin/ viola orchestra affiliation: lancaster Symphony orchestra For Information: molly long-meddaugh, operations manager endless mountain music Festival 130 main St., Wellsboro, pa 16901 570 787 7800 info@endlessmountain.net endlessmountain.net Mann Center for the Performing Arts Philadelphia, PA June 1 – July 31

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Hella Johnson, monica Huggett, Jeffrey Kahane, robert moody, Helmuth rilling Festival artists: Boris Kleiner, keyboards; Jamie Bernstein, narrator/leader; Ya Fei chuang, Jeffrey Kahane, robert levin, piano; Bobby mcFerrin, thomas Quasthoff, vocalist Featured groups: pink martini; portland Baroque orchestra; tiempo libre; trio voronezh For Information: george evano, director of communications venues: Hult center for the performing arts, eugene, or uo School of music, eugene, or Schnitzer concert Hall, portland or tower theatre, Bend, or administrative: 1257 university of oregon, eugene, or 97403 800 457 1486, 541 346 5669 (fax) bachfest@uoregon.edu oregonbachfestival.com

the mann center in beautiful Fairmount park presents the philadelphia orchestra in nine concerts throughout June and July. guests include aretha Franklin and condoleezza rice; curtis institute students and andré Watts. artistic direction: rossen milanov, artistic director of the philadelphia orchestra for the mann center for the performing arts Festival artists: Silk road concert – Yo-Yo ma, cello For Information: the mann center Box office 52nd Street and parkside avenue Fairmount park philadelphia, pa 19131 215 893 1999 manncenter.org

TE X A S

Concerts in the Garden Summer Music Festival Fort Worth, TX May 28 – July 4 the 2010 festival features outdoor concerts over six weekends with fireworks nightly. table and lawn seating available, kids ten and under admitted free on the lawn. classical to big band to classic rock, true family entertainment artistic direction: miguel Harth-Bedoya, music director, Fort Worth Symphony orchestra Festival conductors: andres Franco, miguel Harth-Bedoya orchestra affiliation: Fort Worth Symphony orchestra For Information: FWSo ticket office 330 east Fourth Street, Suite 200 Fort Worth, tX 76102 817 665 6000, 817 665 6100 (fax) ticks@fwsymphony.org fwsymphony.org Great Performances Festival – A Baroque Celebration Fort Worth, TX August 27 – 29 Fort Worth Symphony orchestra’s annual great performances Festival celebrates the Baroque period with music of vivaldi, Haydn, Bach, rameau, pachelbel, and telemann. artistic direction: miguel Harth-Bedoya, music director, Fort Worth Symphony orchestra Festival conductors: andres Franco, miguel Harth-Bedoya Festival artists: Kevin Hall, bassoon; pam adams, Jan cristanti, flute; mark Houghton, horn; Jennifer corning lucio, oboe; ava pine, soprano; adam gordon, trumpet; alessandra Jennings Flanagan, Swang lin, michael Shih, adriana

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voirin decosta, violin orchestra affiliation: Fort Worth Symphony orchestra For Information: FWSo ticket office 330 east Fourth Street, Suite 200 Fort Worth, tX 76102 817 665 6000, 817 665 6100 (fax) ticks@fwsymphony.org fwsymphony.org Immanuel and Helen Olshan Texas Music Festival Houston, TX June 5 – July 3 this four-week intensive orchestral training program for college and young professional musicians offers numerous performing opportunities, private instruction, and chambermusic coaching. all participants receive fulltuition fellowships.

Festival conductors: mei-ann chen, Horst Förster, Franz anton Krager, Klauspeter Seibel Festival artists: J. Jeff robinson, bassoon; eric arbiter, richard Beene, Steven Hendrickson, guest faculty; vagram Saradjian, Brinton averil Smith, alan Stepansky, guest faculty/cello; randall griffin, dave peck, clarinet; eric larson, Sandor ostlund, double bass; aralee dorough, christina Jennings, flute; paula page, harp; roger Kaza, philip Stanton, horn; robert atherholt, anne leek, oboe; Brian del Signore, matthew Strauss, Blake Wilkins, percussion; allen Barnhill, thomas Hulten, trombone; mark Hughes, Jim vassallo, trumpet; david Kirk, tuba; Wayne Brooks, matthew dane, James dunham (guest faculty), rita porfiris, Karen ritscher, viola; andrzej grabiec, Zuo Jun, Fredell lack (guest faculty), Kyung Sun lee, lucie robert, Sean Wang, violin For Information: melissa mccrimmon, assistant director university of Houston moores School of music immanuel and Helen olshan texas music Festival 120 School of music Building Houston, tX 77204-4017 713 743 7274, 713 743 3166 (fax) mfmccrimmon@uh.edu tmf.uh.edu Round Top Festival Institute Round Top, TX June 6 – July 18 a professional summer institute for orchestra, chamber music and solo performance study in texas artistic direction: James dick Festival conductors: christoph campestrini, emilio colon, Joann Falletta, michael guettler, eiji oue, edwin outwater, mariusz Smolij Festival artists: Benjamin Kamins, Kristin Wolfe Jensen, bassoon; Stephen Balderston, emilio colon, cello; Kenneth grant, Hakan rosengren, clarinet; Brett Shurtliffe, James vandemark, double bass; aralee dorough, gretchen pusch, carol Wincenc, flute; paula page, harp; michelle Baker, Karl Kramer-Johansen, peter Kurau, horn; erin Hannigan, rebecca Henderson, oboe; thomas Burritt, tony edwards, percussion; eteri

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Deer Valley Music Festival Park City, UT July 17 – August 14 utah Symphony | utah opera’s seventh annual deer valley music Festival returns in 2010 with five weeks of pops, classical, and chamber-music performances in the picturesque setting of park city, utah.

Festival conductors: Barlow Bradford; david cho, associate conductor; david lockington; Jerry Steichen, principal pops conductor; mack Wilberg Festival artists: robert Stephenson, oboe; Brant Bayless, viola; mark o’connor, Yoonshin Song, violin; Ben Folds, debbie gravitte, randy travis, lisa vroman, vocalist Featured groups: imani Winds; mormon tabernacle choir; muir String Quartet; So percussion; tad calcara and new deal Swing; utah chamber artists orchestra affiliation: utah Symphony | utah opera For Information: deer valley Snow park outdoor amphitheater 2250 deer valley drive South, park city, ut 84060 St. mary’s church, 1505 W. White pine canyon rd. park city, utah 84060 temple Har Shalom, 3700 Brookside drive park city, ut 84060 801 355 ARTS (2787) deervalleymusicfestival.org

V E R M ONT

Marlboro Music Festival Marlboro, VT July 17 – August 15 celebrating the festival’s 60th season, the world’s most distinguished concert artists and most promising young professionals spend seven weeks playing together in ensembles, exploring the chamber music literature in a way not possible elsewhere. artistic direction: richard goode and mitsuko uchida Festival artists: philipp naegele, archives and translations; rose vrbsky, Bill Winstead, bassoon; Bronwyn Banerdt, georg Faust, marieelisabeth Hecker, dane Johansen, angela park, marcy rosen, Judith Serkin, david Soyer, peter Stumpf, Saeunn thorsteinsdottir, paul Wiancko, peter Wiley, matthew Zalkind, cello; Sarah Beaty, moran Katz, anthony mcgill, charles neidich, clarinet; Zachary cohen, double bass; Jasmine choi, andrew gibbons, aliza americanorchestras.org

Summer

2010

Festivals

andjaparidze, James dick, piano; lawrence isaacson, John Kitzman, michael Warny, trombone; tom Booth, John dewitt, trumpet; Hillary Herndon, Zoltan toth, viola; Federico agostini, Jorja Fleezanis, gregory Fulkerson, Kenneth goldsmith, erica Kiesewetter, michelle Kim, nazig tchakarian, violin For Information: alain g. declert, program director Festival Hill 248 Jaster road, round top, tX 78954 979 249 3129, 979 249 5078 (fax) info@festivalhill.org festivalhill.org

Stewart, Feldenkrais method instructors; marina piccinini, Joshua Smith, flute; Sivan magen, harp; Kenneth cooper, harpsichord; Jill Bartels, Benjamin Jaber, radovan vlatkovi, horn; Frank rosenwein, oboe; luis Batlle, Jonathan Biss, richard goode, matan porat, cynthia raim, thomas Sauer, ignat Solzhenitsyn, mitsuko uchida, amy Jiaqi Yang, piano; Kyle armbrust, Hélène clement, emily deans, luke Fleming, Kim Kashkashian, rachel Ku, dmitri murrath, milena pajaro-van de Stadt, vicki chan powell, Samuel rhodes, michael tree, viola; vera Beths, Ben Beilman, Ying Fu, liana gourdjia, Bella Hristova, Soovin Kim, Yvonne lam, Joe lin, Joel link, ulrike anima mathe, david mccarroll, dina nesterenko, miho Saegusa, robin Scott, arnold Steinhardt, elena urioste, tien-Hsin, cindy Wu, Hiroko Yajima, violin; lydia Brown, martin isepp, irene Spiegelman, Benita valente, vocal program; Kiera duffy, Susanna phillips, Sarah Shafer, Jennifer Johnson, Jazimina macneil, nicholas phan, Karim Sulayman, James Barbato, John moore, nathaniel Webster, voice For Information: Jennifer loux marlboro music South road, Box K, marlboro, vt 05344 215 569 4690 after June 19 802 254 2394, 802 254 4307 (fax) info@marlboromusic.org marlboromusic.org See our ad on page 60 Music Festival of the Americas at Stowe Stowe, VT Augus 18 – 21 one of vermont’s leading music festivals has won the praise of placido domingo and brings superb classical, opera, and chamber music to Stowe, the premier tourist destination in vermont. on the final night, anything goes! artistic direction: alondra de la parra Festival conductors: alondra de la parra Festival artists: Ben capps, cello; pablo Sainz villegas, classical guitar; Singers from Washington national opera’s domingo-cafritz Young artist program Featured groups: philharmonic orchestra of the americas orchestra affiliation: philharmonic orchestra of the americas For Information: Jo Sabel courtney, Festival director Festival venue is topnotch resort & Spa 4000 mountain road, Stowe, vt 05672 Festival mailing address: p.o. Box 393, Stowe, vt 05672

802 760 6797 info@musicfestivaloftheamericas.org musicfestivaloftheamericas.org TD Bank Summer Festival Tour Burlington, VT July 1 – 11 the vSo offers a honey of a program both aviary and apiary, “the Birds and the Bees.”

Festival conductors: anthony princiotti orchestra affiliation: vermont Symphony orchestra For Information: alan Jordan, executive director 2 church Street, Suite 3B, Burlington, vt 05401 800 876 9293 ext. 10, 802 864 5109 (fax) info@vso.org vso.org

VIR GIN IA

Shenandoah Valley Bach Festival Harrisonburg, VA June 13 – 20 Works by JS Bach, mahler, Barber, golijov, chopin, WF Bach, John mccutcheon (with mccutcheon performing). orchestral and choral music, vocal/instrumental solos, chamber music three ticketed performances, six free chamber music concerts. artistic direction: Kenneth J. nafziger Festival conductors: marvin mills, Kenneth J. nafziger Festival artists: James richardson, bass; John

Jeffrey Silberschlag, music director Chesapeake Orchestra

River Concert Series 2010

June 18 -- July 30

12th Season Over 500,000 happy concertgoers! www.riverconcertseries.com

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Wintergreen Summer Music Festival and Academy Wintergreen, VA July 5 – August 1 located on the crest of the Blue ridge mountains, the Festival includes approximately 200 performances and events, including music, dance, film, theatre, and the literary arts. the 2010 theme: vienna. nt: Marlboro Music artistic direction: larry alan Smith Festival conductors: guest 2010 conductors Josep Symphony Magazine caballé-domenech, e: 2.25”w x 4.875”hmei-ann chen, alfred Savia, and christopher Zimmerman ign by: the-m.com artists: Wolfgang Seierl, Judith Shatin, work contact: Festival mingfang@the-m.com 347.853.8669 michael White, composer; norman Krieger, piano; Steve larson, viola; christopher pulgram, Kenn Wagner, violin; and others Featured groups: James piano Quartet (WSmF ensemble-in-residence) orchestra affiliation: Wintergreen Festival orchestra

RICHARD GOODE & MITSUKO UCHIDA Artistic Directors

MARLBORO MUSIC MARLBORO, VT – 60th Season

CHAMBER MUSIC July 17 – August 15, 2010 Master musicians & exceptional young artists share their discoveries in 5 exciting weekends of concerts in beautiful southern Vermont Tickets available after March 1

215-569-4690

(ask for first-time offer)

www.marlboromusic.org

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Steinway Piano • Sony Classical • Bridge Records

“Impeccable ensemble work, unbridled energy and boatloads of virtuosity produced an electrifying performance…” — Washington Post

Summer

2010

Festivals

mccutcheon, hammered dulcimer; Heidi Kurtz, mezzo-soprano; lynne mackey, piano; anne gross, soprano; Joel ross, tenor Featured groups: Festival chamber players; Festival choir; Festival orchestra For Information: mary Kay adams, executive director 1200 park road, Harrisonburg, va 22802 540 432 4367, 540 432 4622 (fax) bach@emu.edu emu.edu/bach

For Information: larry alan Smith, artistic and executive director Wintergreen performing arts p.o. Box 816, Wintergreen, va 22958 434 325 8292, 888 675 8238 (fax) info@wintergreenperformingarts.org wintergreenperformingarts.org

WA SHIN GTON

Bellingham Festival of Music Bellingham, WA July 1 – 18 now in its 17th season, the Bellingham Festival of music celebrates classical music in orchestral and chamber concerts featuring world-class musicians gathered from our nation’s finest orchestras into one of america’s premier festival ensembles. artistic direction: michael palmer, artistic director Festival conductor: michael palmer, artistic director Festival artists: Horacio gutiérrez, piano; Heidi grant murphy, soprano; Stefan Jackiw, violin; Joshua roman, violoncello Featured groups: Bellingham Festival orchestra and chorus For Information: mary pat thuma, treasurer p.o. Box 818, Bellingham, Wa 98227 360 201 6621 info@bellinghamfestival.org bellinghamfestival.org Marrowstone Summer Music Festival Bellingham, WA July 25 – August 8 marrowstone is the northwest’s leading summer music program for musicians aged 13 to 23, in the northwest. Students study with nationally acclaimed faculty and are immersed in orchestral and chamber music rehearsals, masterclasses, and professional performances. artistic direction: Stephen rogers radliffe Festival conductors: dale clevenger; ryan dudenbostel; Stephen rogers radcliffe; alastair Willis Festival artists: diana gannett, bass; Francine peterson, bassoon; Stephen Balderston, cello; Jill Felber, flute; Heidi lehwalder, harp; dale clevenger, horn; rebecca Henderson, oboe; marc reese, trumpet; Karen dirks, viola; Fritz gearhart, ron patterson, violin; Jeffrey gilliam, piano orchestra affiliation: Seattle Youth Symphony orchestras For Information: Britt madsen, marrowstone coordinator 206 362 2300, 206 361 9254 (fax) marrowstone@syso.org marrowstone.syso.org/ms/index.html

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Seattle Chamber Music Society’s 2010 Summer Festival Seattle and Redmond, WA July 5 – August 13 this six-week festival in two venues features nineteen concerts, seventeen pre-concert recitals, and 37 internationally acclaimed musicians in chamber music masterpieces and works from the solo repertoire. artistic direction: toby Saks Festival artists: richard o’neill, viola; James ehnes, Stefan Jackiw, and erin Keefe, violin; robert demaine, cello; andrew armstrong, adam neiman, and anna polonsky, piano For Information: connie cooper, executive director Benaroya Hall (Seattle) and the overlake School (redmond) 206 283 8808, 206 283 8826 (fax) info@seattlechambermusic.org seattlechambermusic.org

WISCON SIN

Green Lake Festival of Music Green Lake, Wisconsin June 11 – July 25 Series of classical music concerts, two-week chamber camp for high school and college students, four-day choral institute for amateur and professional singers, and free family concert series and master classes, in intimate venues near lovely green lake, Wisconsin. artistic direction: Jason duckles (chamber camp), anthea Kreston Festival conductors: Stephen alltop (choral institute) Festival artists: the amelia piano trio; euclid String Quartet; eric Zuber, piano; Quintango; Stas venglevski, russian accordion; Sarah lawrence, soprano; calland metts, tenor; Samantha george, violin Featured groups: amelia piano trio, Quintango, euclid String Quartet, Bella voce, vocal ensemble For Information: Jeannette Kreston, executive director p.o. Box 569, green lake, Wi 54941 800 662 7097 or 920 748 9398 920 748 6918 (fax) info@greenlakefestival.org greenlakefestival.org Maud Powell Music Festival See listing under illinois Peninsula Music Festival Ephraim, WI August 3 – August 21 peninsula music Festival is a professional symphony orchestra that performs nine concerts in three weeks. the 58th season will feature a world premiere of a commissioned concerto!

Festival conductors: Stephen alltop; victor Yampolsky; guest conductor Festival artists: phil pandolfi, bassoon; robert demaine, cello; lisa pegher, percussion; pavel gintov, Stewart goodyear, piano; michael Zaretsky, viola; maria Bachmann, James ehnes, minghuan Xu, violin

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Grand Teton Music Festival Jackson Hole, WY July 1 – August 14 each summer, world-class musicians gather at the grand teton music Festival for seven weeks of orchestral and chamber-music concerts in Jackson Hole, the gateway to grand teton and Yellowstone national parks. artistic direction: donald runnicles Festival conductors: mei-ann chen, reinhard goebel, donald runnicles, mark Wigglesworth Festival artists: michael rusinek, clarinet; paolo Bordignon, harpsichord; colin currie, percussion; Stephen Hough, piano; Susan graham, mezzo soprano; Sarah chang, akiko Suwanai, violin For Information: Shelly Fuerte, director of artistic planning and operations physical address: Walk Festival Hall, teton village Wyoming 83025 mailing address: 4015 W. lake creek drive #1, Wilson, WY 83014 307 733 1128, 307 739 9043 (fax) gtmf@gtmf.org gtmf.org

I N TER NATION A L

2010

Festivals

For Information: laura ashley, assistant director door community auditorium po Box 340, 3045 cedar St., Fish creek, Wi 920 854 4060, 920 854 4060 (fax) musicfestival@charterinternet.com

Summer

americanorchestras.org

Boston pops............................................ 8 Boston university ................................... 2 cHl artists, inc. ................................. 73 classical Kids live! .............................. 33

Summer Music at the National Arts Centre Ottawa, Ontario June 17 – 25 the national arts centre orchestra celebrates summer with special guests, nac Summer music institute concerts, canada day celebrations, and four days of orchestras in the park. artistic direction: pinchas Zukerman, national arts centre orchestra music director Festival conductors: Jacques lacombe; edwin outwater; Jean-philippe tremblay; pinchas Zukerman Featured groups: ensembles from the nac Summer music institute; national arts centre orchestra; national Youth orchestra of canada; orchestre de la francophonie canadienne orchestra affiliation: national arts centre orchestra For Information: gerald morris, communications officer national arts centre 53 elgin Street, p.o. Box 1534, Station B ottawa, ontario K1p 5W1, canada 613 947 7000, 613 996 2828 (fax) gmorris@nac-cna.ca nac-cna.ca

S.e. dyer performing arts management & marketing ................ 9 Just Business! ........................................ 45 dan Kamin comedy concertos ........... 38 ronnie Kole productions ..................... 27 league of american orchestras ..... 10-11, 20-21, 25, 61, 71 marlboro music Festival ...................... 60 music academy of the West ................ 48 oK mozart Festival.............................. 57 robinson marketing for orchestras ..... 26 St. mary’s river concert Series ........... 59 Strings music Festival .......................... 50 Symphonic voyages, inc. .......................c2 tanglewood music Festival .................. 54 Yoichi udagawa, conductor ................. 33 Warner Shelter Systems ltd. ............... 39 Word pros, inc. .................................... 25 Yamaha corporation of america ........... 1

CANADA

Fort Macleod International Festival (formerly Windy Mountain Music) Fort Macleod, Alberta, Canada May 27 – 31 Five concerts. Four venues. twenty-two musicians from around the world in a relaxed Western setting. plus cuisine, wine, conversation, and camaraderie. there’s music in the Wind. artistic direction: rivka golani Festival conductors: melanie leonard; nic pendlebury Festival artists: matthew Heller, bass; Steve Franse, bassoon; leonid gorokhov, ido Janssen, cello; darko Brlek, clarinet; melanie leonard, conductor; rob mccosh, horn; gerard gibbs, oboe; Bernadene Blaha, Kevin Fitz-gerald, anton Kuerti, piano; nic pendlebury, viola/ conductor; rivka golani, Barry Shiffman, viola; edmond agopian, corey cerovsek, John lowry, violin; muse players 2010: alisa liubarskaya, cello; Sarah gieck, flute; matthew Blackburnb, piano; Brooke day, viola; lana trotovsek, violin For Information: gerard gibbs, executive director p.o. Box 99 Fort macleod, alberta, canada t0l 0Z0 800 540 9229 or 403 553 4404 403 553 4210 (fax) administration@empresstheatre.ab.ca fortmacleodinternationalfestival.com

INDEX

ADVERTISER

CORRECTIONS

in the march/april Symphonyonline (page 8), the name of the Boulder philharmonic’s new executive director was misspelled; his name is Kevin SHucK. the feature article “in the moment,” also in that issue, incorrectly identified the soloist in the 1997 world premiere of Kevin puts’s marimba concerto. the work was premiered by the vermont Symphony orchestra with marimbist makoto nakura, who subsequently performed it in Japan with the Kobe ensemble, which had joined with the vSo in co-commissioning it.

If Orchestras Have Enriched Your Life…

The League of American Orchestras invites you to become a member of the Helen M. Thompson Heritage Society and join others in helping to ensure the future of America’s orchestras by making a legacy gift to the League.

To learn more, call 646 822 4025 or visit americanorchestras.org.

Helen M. Thompson (1908 – 1974), a passionate advocate for symphonic music and American orchestras, was the League’s first executive director.

Special advertiSing Supplement to Symphony

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league of american orchestras Annual support from individuals, corporations, and foundations helps to sustain the League of American Orchestras and its programs and services. The League of American Orchestras gratefully acknowledges the generosity of the following donors who contributed gifts of $600 and above as of March 26, 2010. To learn more about supporting the League, please call (212) 262-5161 or write us at Annual Fund, League of American Orchestras, 33 West 60th Street, 5th Floor, New York, NY 10023. national leadership $150,000 and above Julie F. & Peter D. Cummings, Palm Beach Gardens, FL § The Richard & Helen DeVos Foundation, Grand Rapids, MI § Ford Motor Company Fund, Dearborn, MI Jan & Daniel R. Lewis, Coconut Grove, FL § The Andrew W. Mellon Foundation, New York, NY § MetLife Foundation, New York, NY National Endowment for the Arts, Washington, DC The Bruno Walter Memorial Foundation, New York, NY Anonymous (1) §

$50,000 – $149,999 American Express Foundation, New York, NY Argosy Foundation, Milwaukee, WI § Dr. & Mrs. Malcolm Brown, Winston-Salem, NC § Carnegie Corporation of New York, New York, NY Bruce & Martha Clinton, on behalf of The Clinton Family Fund, Chicago, IL§ Mr. Richard W. Colburn, Northbrook, IL Chicago Symphony Orchestra, Chicago, IL ‡ John & Marcia Goldman Foundation, Atherton, CA § The Hearst Foundation, Inc., New York, NY Shirley Bush Helzberg, Kansas City, MO § Mrs. Martha R. Ingram, Nashville, TN § Cynthia M. Sargent, Northbrook, IL §

$25,000 – $49,999 Richard & Kay Fredericks Cisek, North Oaks, MN § The Aaron Copland Fund for Music, New York, NY Henry & Frances Fogel, Chicago, IL *†§ The Phoebe W. Haas Charitable Trust A as recommended by Carole Haas Gravagno, Philadelphia, PA § The Irving Harris Foundation, Chicago, IL

$10,000 – $24,999 Nancy & Ellsworth Alvord, Jr., M.D.^, Seattle, WA §

Bessemer Trust, Chicago, IL The Brown Foundation, Inc., Houston, TX Trish Bryan, Cincinnati, OH †§ John & Janet Canning, Westport, CT § Melanie Clarke, Princeton, NJ § Ann & Gordon Getty Foundation, San Francisco, CA John Gidwitz, New York, NY *†§ Ellen & Paul Gignilliat, Chicago, IL§ The Hyde and Watson Foundation, Warren, NJ Atul R. Kanagat, Summit, NJ § Catherine & John Koten, Barrington Hills, IL †§ Shirley D. McCrary, Mooresville, AL § Catherine & Peter Moye, Spokane, WA § New York City Department of Cultural Affairs, New York, NY Lowell & Sonja Noteboom, Minnetonka, MN § Cathy & Bill Osborn, Chicago, IL § Patricia A. Richards, Salt Lake City, UT § Mr. David Rockefeller, New York, NY Drs. John & Helen Schaefer, Tucson, AZ † § Connie Steensma & Rick Prins, New York, NY † § Ms. Ginger B. Warner, Cincinnati, OH § The Simon Yates & Kevin Roon Foundation, New York, NY †§ Anonymous (1) §

$5,000 – $9,999 Artsmarketing Services Inc., Toronto, ON, CANADA B Squared Consulting, San Anselmo, CA ‡ BMI (Broadcast Music, Inc.), New York, NY Mr. & Mrs. William Gardner Brown, Lake Forest, IL Nicky B. Carpenter, Wayzata, MN †§ CCS, New York, NY Classical Movements, Inc., Alexandria, VA Con Edison, New York, NY Corporation for International Business, Barrington, IL DCM Inc., Brooklyn, NY Francis Goelet Charitable Lead Trusts, New York, NY Mr. Cannon Y. Harvey, Denver, CO Lee Lamont, Longmont, CO *† The Lerner Foundation, Highland Heights, OH §

The League of American Orchestras extends special gratitude to the members of the American Orchestra Foundation. The Foundation members share an extraordinary commitment to symphony orchestras and the music they perform.

Christopher Seton Abele, on behalf of the Argosy Foundation, Milwaukee, WI Dr. & Mrs. Malcolm McDougal Brown, Winston-Salem, NC Bruce & Martha Clinton, on behalf of The Clinton Family Fund, Chicago, IL Mr. Richard W. Colburn, Northbrook, IL Julie F. & Peter D. Cummings, Palm Beach Gardens, FL Mr. & Mrs. Richard M. DeVos, Grand Rapids, MI Mr. & Mrs. John D. Goldman, Atherton, CA Shirley Bush Helzberg, Shawnee Mission, KS Mrs. Martha R. Ingram, Nashville, TN Jan & Daniel R. Lewis, Miami, FL Cynthia M. Sargent, Northbrook, IL

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Peter B. Lewis, Coconut Grove, FL § W. Curtis Livingston, Nantucket, MA † James B. & Ann V. Nicholson, Detroit, MI§ Jim & Kay Mabie, Northfield, IL § Lee R. Marks & Lisl Zach, Philadelphia, PA § New York State Council on the Arts, New York, NY Charles & Barbara Olton, New York, NY † § Peter Pastreich, San Francisco, CA *† § The Albert B. & Audrey G. Ratner Family Foundation, Lyndhurst, OH § SD&A Teleservices, Inc., El Segundo, CA Target Resource Group, Woodland Park, CO Penelope Van Horn, Chicago, IL †§ Mr. & Mrs. Albert K. Webster, New York, NY *§ Adair & Dick White, Atlanta, GA §

National Friends of the League Benefactor ($2,500 – $4,999) ASCAP, New York, NY Ms. Marin Alsop, Baltimore, MD The Amphion Foundation, New York, NY Bennett Direct, Milwaukee, WI Richard J. Bogomolny, Gates Mills, OH § Mr. David Bohnett, Beverly Hills, CA Dr. Roland M. Carter, Chattanooga, TN Van Cliburn Foundation, Fort Worth, TX Colbert Artists Management Inc., New York, NY Martha & Herman Copen Fund, New Haven, CT Bruce Coppock, St. Paul, MN R. Crusoe & Son, Chicago, IL Fisher Dachs Associates – Theater Planning and Design, New York, NY Emma E. Dunch & Elizabeth W. Scott, New York, NY °§ Mrs. Charles Fleischmann, Cincinnati, OH † Mr. James M. Franklin, Inverness, IL § Jeanne & Gary Herberger, Paradise Valley, AZ § IMS, Madison, WI InstantEncore.com, San Diego, CA James D. Ireland III, Cleveland, OH § Mrs. Loretta Julian, Oak Brook, IL§ Kirkegaard Associates, Chicago, IL Joseph H. Kluger, Philadelphia, PA § Christopher & Margo Light, Kalamazoo, MI *† Mrs. Judith W. McCue, Evanston, IL +§ Terje Mikkelsen.com, Cincinnati, OH Naxos of America Inc., Franklin, TN Robert & Judi Newman, Englewood, CO Mr. Seymour Rosen, Valhalla, NY † Mr. Richard P. Simmons, Pittsburgh, PA TALASKE | sound thinking, Oak Park, IL Rae Wade Trimmier, Birmingham, AL § James Undercofler, Philadelphia, PA § Alan D. & Connie Linsler Valentine, Nashville, TN§ Anonymous (1)

Sustainer ($1,000 – $2,499) Douglas W. Adams, Dallas, TX § Alberta Arthurs, New York, NY § Brent & Jan Assink, San Francisco, CA § Audrey G. Baird, Milwaukee, WI *§ Frances and Stephen Belcher, Severn, MD Elena Bales & Steven Bronfenbrenner, San Anselmo, CA °§ William P. Blair, III, Canton, OH *† § Elaine Amacker Bridges, San Angelo, TX Fred & Liz Bronstein, St. Louis, MO °§ Wayne S. Brown & Brenda E. Kee, Washington, DC *•†§ Michelle Miller Burns & Gary W. Burns, Chicago, IL °§ Catherine M. Cahill, Philadelphia, PA °§ Morton D. Cahn, Jr., Dallas, TX Campbell & Company, Chicago, IL The Elizabeth F. Cheney Foundation, Chicago, IL Judy Christl, Whitefish Bay, WI § NancyBell Coe, Santa Barbara, CA

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Robert Conrad, Cleveland, OH § Margarita L. Contreni, Brookston, IN Gloria dePasquale, Narberth, PA § Mr. D. M. Edwards, Tyler, TX § John Farrer, Bakersfield, CA Scott Faulkner & Andrea Lenz, Reno, NV § Aaron A. Flagg & Cristina Stanescu Flagg, New York, NY § Michele & John Forsyte, Santa Ana, CA °§ Mr. & Mrs. F. Tom Foster, Jr., Nashville, TN § Catherine French, Washington, DC *•†§ Edward B. Gill, San Diego, CA § Clive Gillinson, New York, NY †§ Joseph B. Glossberg & Madeleine Condit Glossberg, Chicago, IL § Ms. Marian A. Godfrey, Philadelphia, PA § Michael S. Gordon, Laguna Beach, CA Mr. Paul D. Grangaard, Minneapolis, MN Patrick Guilbert, New York, NY ‡ Gary Hanson & Barbara Klante, Cleveland, OH § Mark & Christina Hanson, Milwaukee, WI °§ Daniel & Barbara Hart, Buffalo, NY °§ Jennifer Higdon & Cheryl Lawson, Philadelphia, PA § Dr. & Mrs. Claire Fox Hillard, Albany, GA Mr. & Mrs. Michael J. Horvitz, Cleveland, OH § Patricia G. Howard, Cazenovia, NY + A.J. Huss, Jr., Saint Paul, MN J. Mendel LLC, New York, NY Jerome & Beverly Jennings, Winston-Salem, NC John & Sarah Johnson, Greenville, SC Mr. Russell Jones, New York, NY § Paul R. Judy, Northfield, IL The Jurenko Foundation, Huntsville, AL The Joseph & Nancy F. Keithley Foundation, Shaker Heights, OH § Mr. & Mrs. Norman V. Kinsey, Shreveport, LA Larry & Rogene Kirkegaard, Chicago, IL Michael John Koss, Milwaukee, WI *† Judith Kurnick, Penn Valley, PA § Dennis W. LaBarre, Cleveland, OH § Mr. & Mrs. Wilfred J. Larson, Naples, FL † Robert & Emily Levine, Glendale, WI § Alex Machaskee, Cleveland, OH § Annie & William Madonia, Cleveland, OH § Mr. James Marpe, Westport, CT Steve & Lou Mason, Dayton, OH †§ Paul Meecham, Baltimore, MD § Zarin Mehta, New York, NY § LaDonna Meinders, Oklahoma City, OK § Beth E. Mooney, Cleveland, OH § Michael Morgan, Oakland, CA § Thomas W. Morris, Cleveland Heights, OH § Diane & Robert Moss, Key Biscayne, FL § James W. Palermo, Chicago, IL °§ Mr. Graham Parker, New York, NY Steven C. Parrish, Westport, CT Anne H. Parsons, Detroit, MI °§ Mary Carr Patton, New York, NY Mr. J. Marvin Quin, Cincinnati, OH Mrs. Alfred M. Rankin, Gates Mills, OH § Mr. & Mrs. Alfred M. Rankin, Jr., Waite Hill, OH § Peggy & Al Richardson, Erie, PA †§ Ms. Barbara S. Robinson, Cleveland, OH § Jesse Rosen, New York, NY § Robert & Barbara Rosoff, Glens Falls, NY § Mr. & Mrs. Herbert Rossmeisl, Birmingham, AL+ § Don Roth, Davis,CA *†§ Deborah F. Rutter, Chicago, IL †§ Jo Ellen Saylor, Edina, MN Schiedmayer Celesta GmbH, Wendlingen, Germany Nancy & Barney Schotters, Greenwood Village, CO Helen P. Shaffer, Houston, TX Joan H. Squires, Omaha, NE °§ Dr. Jane Van Dyk, Billings, MT § Mrs. Edith Van Huss, Playa Del Ray, CA + Matthew VanBesien & Rosie Jowitt, Houston, TX °§ Allison Vulgamore, Atlanta, GA °§ Tina Ward, Saint Louis, MO °§ Dr. Charles H. Webb, Bloomington, IN § Franz Welser-Möst, Cleveland, OH § Stacey Weston, New York, NY § Neil Williams, Atlanta, GA † Jan Wilson, New York, NY§ Peter Stafford Wilson, Westerville, OH Anonymous (2) § americanorchestras.org

Patron ($600 – $999) AT&T Foundation, New York, NY Lois H. Allen, Columbus, OH Ms. Sandra Ashby, Jacksonville, FL Dr. Richard & Janet Barb, Indianapolis, IN Marie-Hélène Bernard, Boston, MA °§ Mr. Robert A. Birman, San Francisco, CA Nancy Blaugrund, Albuquerque, NM § Mr. Frank Byrne, Kansas City, MO § Mr. Chuck Cagle, Franklin, TN Katherine Carleton, Toronto, ON, CANADA § Ms. Katy Clark, New York, NY °§ George J. D’Angelo, M.D., Erie, PA Amy & Trey Devey °§ Susan Feder & Todd Gordon, New York, NY Ryan Fleur & Laura Banchero, Memphis, TN †°§ Karen Gahl-Mills & Laurence Mills-Gahl, Syracuse, NY § The GE Foundation, Fairfield, CT Michael Gehret, Lawrenceville, NJ Mr. Kareem A. George, Detroit, MI °§ Maryellen Gleason & Kim Ohlemeyer, Phoenix, AZ Kathie & Ken Goode, Cincinnati, OH § Richard Gray, Chicago, IL Mr. André Gremillet, Newark, NJ Howard Herring, Miami Beach, FL Mr. Robert E. Hoelscher, Cedar City, UT Lauri & Paul Hogle, Atlanta, GA § Holly H. Hudak, Chicago, IL § Mrs. Laura Hyde, Tyler, TX Kendra Whitlock Ingram, Baltimore, MD § Ms. Helena Jackson, Duluth, MN James M. Johnson, New York, NY § Ms. Polly Kahn, New York, NY § Wendy Kelman, Beverly Hills, CA Peter Kjome, Grand Rapids, MI JoAnne & Don Krause, Brookfield, WI Andrea Laguni & Dan Read, Los Angeles, CA Carolyn and Wayne Landsverk, Portland, OR David Loebel, Memphis, TN Hampton Mallory, Glenshaw, PA † Ms. Nancy March, Tucson, AZ Virginia Cretella Mars, McLean, VA † Terri McDowell, Lookout Mountain, TN Mrs. Charlotte W. McNeel, Jackson, MS Evans Mirageas, Minnetrista, MN Steven Monder, Cincinnati, OH † Heather Moore, Dallas, TX J.L. Nave, III & Paul Cook, Fort Wayne, IN °§ Brenda Nienhouse, Spokane, WA °§ Brian A. Ritter, Rockford, IL William A. Ryberg, Zionsville, IN Roger Saydack & Elaine Bernat, Eugene, OR † Mr. Louis Scaglione, Philadelphia, PA § Grace & Jim Seitz, Naples, FL + Ms. Rita Shapiro, Washington, D.C. R. L. Sias, Oklahoma City, OK † Mr. Ari Solotoff, Portland, ME °§ Barbara J. Soroca, Stamford, CT § Ms. Nancy Stevens, Estes Park, CO Mr. Gideon Toeplitz, Washington, DC Mrs. Melia P. Tourangeau, Grand Rapids, MI Jeff & Melissa Tsai, Pittsburgh, PA °§ Robert J. Wagner, Maplewood, NJ § Edward Walker, Oklahoma City, OK § Pamela J. Weaver, Greer, SC Melody Welsh-Buchholz, Crestwood, KY § Gary & Diane West, Cincinnati, OH Paul R. Winberg, Eugene, OR Karen E. Wix, York, PA Carol Sue Wooten, Fort Smith, AR † Rebecca & David Worters, Raleigh, NC § Edward C. Yim, New York, NY °§ Anonymous (1) * Charter Member † Directors Council (former League Board) ° Orchestra Management Fellowship Program Alumni • Donald Thulean Fund for Artistic Excellence + Includes Corporate Matching Gift ‡ In-Kind Donation § Includes Campaign Gift ^ Deceased

helen m. thompson heritage society W. Curtis Livingston, co-chair, Nantucket, MA Nina C. Masek, co-chair, Sonoita, AZ Janet F. & Dr. Richard E. Barb Family Foundation, Indianapolis, IN Wayne S. Brown & Brenda E. Kee, Washington, DC John & Janet Canning, Westport, CT Richard & Kay Fredericks Cisek, North Oaks, MN Martha and Herman Copen Fund, Mt. Carmel, CT Myra Janco Daniels, Naples, FL Henry & Frances Fogel, Chicago, IL Susan Harris, Ph.D., Ann Arbor, MI Steve & Lou Mason, Dayton, OH Shirley D. McCrary, Mooresville, AL Lowell & Sonja Noteboom, Minnetonka, MN Charles & Barbara Olton, New York, NY Peter Pastreich, San Francisco, CA Rodger E. Pitcairn, Rockville, MD Robert & Barbara Rosoff, Glens Falls, NY Robert J. Wagner, Maplewood, NJ Tina Ward, Saint Louis, MO Mr. & Mrs. Albert K. Webster, New York, NY Anonymous (1)

national council The League of American Orchestras is grateful to its National Council members for their generous support.

Dr.& Mrs. Malcolm McDougal Brown, co-chair, Winston-Salem, NC Richard & Kay Fredericks Cisek, co-chair, North Oaks, MN Nancy & Ellsworth Alvord, Jr., M.D., Seattle, WA Mr. & Mrs. William G. Brown, Lake Forest, IL Trish Bryan, Cincinnati, OH John & Janet Canning, Westport, CT Nicky B. Carpenter, Wayzata, MN Melanie Clarke, Princeton, NJ Henry & Frances Fogel, Chicago, IL John Gidwitz, New York, NY Ellen & Paul Gignilliat, Chicago, IL The Phoebe W. Haas Charitable Trust A as recommended by Carole Haas Gravagno, Philadelphia, PA Mrs. Joan W. Harris, Chicago, IL Mr. Cannon Y. Harvey, Denver, CO Atul R. Kanagat, Summit, NJ Catherine & John Koten, Barrington Hills, IL Lee Lamont, Longmont, CO The Lerner Foundation, Highland Heights, OH Peter B. Lewis, Coconut Grove, FL W. Curtis Livingston, Nantucket, MA Jim & Kay Mabie, Northfield, IL Lee R. Marks & Lisl Zach, Philadelphia, PA Shirley D. McCrary, Mooresville, AL Catherine & Peter Moye, Spokane, WA James B. & Ann V. Nicholson, Detroit, MI Lowell & Sonja Noteboom, Minnetonka, MN Charles & Barbara Olton, New York, NY Cathy & Bill Osborn, Chicago, IL Peter Pastreich, San Francisco, CA The Albert B. & Audrey G. Ratner Family Foundation, Lyndhurst, OH Patricia A. Richards, Salt Lake City, UT Mr. David Rockefeller, New York, NY Drs. John & Helen Schaefer, Tucson, AZ Connie Steensma & Rick Prins, New York, NY Mr. Mike S. Stude, Houston, TX Penelope Van Horn, Chicago, IL Ms. Ginger B. Warner, Cincinnati, OH Mr. & Mrs. Albert K. Webster, New York, NY Adair & Dick White, Atlanta, GA The Simon Yates & Kevin Roon Foundation, New York, NY

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Tops for Pops

Bosto n Po ps

CODA

The Boston Pops celebrates 125 years.

A circa 1900 drawing of a Boston Pops performance captures a glamorous scene that’s not unfamiliar to today’s audiences. Festive drinks and caféstyle seating were part of the Boston Pops experience right from the start.

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BSO Archiv es (W hitest one)

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In 1929, Boston Symphony Orchestra viola player Arthur Fiedler, who had led the Pops as a replacement conductor, organized free outdoor Esplanade Concerts. In 1930, Fiedler was appointed the Pops’ first-ever American conductor, and he soon made an unforgettable stamp on the orchestra. He led the Pops until his death in 1979.

ps n Po Bosto

hen Adolf Neuendorff took the podium on July 11, 1885 to lead the Boston Symphony Orchestra in a new summertime series of “concerts of a lighter kind of music,” who could have predicted that an American tradition was being born? After all, Henry Lee Higginson, the banker and Civil War veteran who founded the Boston Symphony Orchestra, conceived of the concerts as echoes of genteel European musicales—and as a means of providing more employment for the musicians, whose regular season with the BSO ran just half the year. The concept and the concerts caught on, taking on an indelibly American accent over time, and 125 years later, the Boston Pops are still going strong. On May 4, Conductor Keith Lockhart and the Boston Pops launch the orchestra’s 125th season with a concert that honors contributions of such legendary figures as former conductors Arthur Fiedler and John Williams while spotlighting current musical trends. The Boston Pops’ quasquicentennial—and how often do you get to use that word about any orchestra?—season runs through June 20 with a slate of familiar and new guests, wide-ranging repertoire, a world premiere, television and radio appearances, and more.

Here’s a look at a few highlights from the Pops’ 125 years of music-making.

In 1965, two great figures in American music—Boston Pops conductor Arthur Fiedler and composer, conductor, and bandleader Duke Ellington—spent time together at Tanglewood, where the Pops and the Boston Symphony Orchestra perform every summer in rural Lenox, Massachusetts.

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Many orchestras perform pops programs saluting the music of Hollywood, but the Boston Pops landed a conductor who is the real deal: John Williams, who composed the scores for some of Hollywood’s best-known films. Williams was the Boston Pops’ conductor from 1980 to 1993. Here he is with the Pops at Symphony Hall in 1980, joined by Star Wars’ C3PO.

Performing artists from a rich array of musical styles outside the classical arena have long been invited to perform with the Boston Pops. In 1993, soul-music legend Aretha Franklin performed with the Pops and conductor John Williams.

Miro Vintoniv/BS O

BSO Arch ives (W hites tone)

es rchiv SO A esy B court , e c eir ael P Mich

Bo sto nP ops

On May 2, 1970 Massachusetts Senator Edward M. Kennedy appeared as a narrator with the Boston Pops, led by Arthur Fiedler.

On May 18, 2010, conductor Keith Lockhart, the Boston Pops Orchestra, the Tanglewood Festival Chorus, and four celebrity narrators will perform the world premiere of The Dream Lives On: A Portrait of the Kennedy Brothers, honoring John, Robert, and Edward Kennedy.

The new work is written by composer Peter Boyer and lyricist Lynn Ahrens.

Keith Lockhart is the twentieth Boston Pops conductor and only the third since Arthur Fiedler. Here he leads the Boston Pops at a July 4, 2008 concert. americanorchestras.org

Stu Ros ner/BS O

For all its lighthearted approach to music-making, the Boston Pops takes its traditions seriously, as when longtime Pops conductor John Williams passed the baton to incoming conductor Keith Lockhart at Symphony Hall in 1995.

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Partners in

Practice

by Mark Clague and Michael Mauskapf

Participants at University of Michigan’s American Orchestras Summit in January.

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ith more than 150 people listening, Michael Jensen recently wondered aloud if orchestras in America are living an impossible dream: “You have world-class, national, local orchestras, all operating with similar cost structures, and then amateur-level groups.

In the future, world-class and amateur orchestras may remain, but all others, I’m afraid, may disappear.” Jensen, a Professor of Strategy at the University of Michigan Ross School of Business who studies audience behavior, heard a collective gasp.

He then continued to express concern

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With orchestras re-examining their relevance and value in today’s culture, how can they work together more effectively with other organizations?

The American Orchestras Summit, held in January at the University of Michigan, offers some answers.

about the way orchestras have positioned themselves in the musical marketplace.

Using examples from film (Avatar), opera (The Met: Live in HD), and the orchestra world (Berlin Philharmonic’s Digital Music Hall), Jensen suggested that orchestras can thrive only if they find ways to embrace technology to engage their communities in new and lasting ways.

Jensen’s challenge—for orchestras to clearly articulate their relevance and value (and make no mistake, there is real value)—struck a chord with participants of the American Orchestras Summit, held symphony

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Peter Smith

Top: Joseph Horowitz (right) with Robert Birman, executive director of the Louisville Orchestra.

Above: Composer and conductor Pierre Boulez with Reno Philharmonic Music Director Laura Jackson.

from January 26 to 28 at the University of Michigan in Ann Arbor. Subtitled Enlarging the Circle: Creating Partnerships in Research and Performance, the summit examined the wide-reaching cultural impact that the orchestra has had and explored how arts institutions and academia might partner effectively for mutual benefit. The authors of this article—Professor Mark Clague, musicologist and director of the University of Michigan’s American Music Institute, and Michael Mauskapf, a Ph.D. candidate in musicology at the University—organized the summit, which was born out of a conversation last sumamericanorchestras.org

mer with Joseph Horowitz, a writer and authority on classical music in America.

The idea of jumpstarting a dialogue between orchestra scholars and administrators picked up steam, and by the end of the year more than 30 speakers had signed on, including not only administrators and scholars but students, musicians, union leaders, conductors, composers, grant officers, and board members.

We decided to host the summit at the University of Michigan because our School of Music, Theater & Dance offers a wide range of interdisciplinary expertise, and because universities offer a fresh en-

vironment in which to examine industry concerns. Our hope was to catalyze a new and lasting partnership between orchestras and academia. We scheduled the summit to coincide with a concert by the Chicago Symphony Orchestra celebrating the 85th birthday of Pierre Boulez, who spoke at the summit’s final event with Glenn Watkins, an emeritus University of Michigan professor of musicology.

Attendance at the summit exceeded our expectations; clearly we caught a wave of interest due to widespread concerns throughout the orchestra industry, and the one-day strike at the Cleveland Orchestra just before the conference only highlighted the need for conversations outside the pressure-packed atmosphere of such a crisis. As a university host, we were able to leverage the tools of academic research to address questions of mutual concern to musicologists, organizational theorists, business faculty, arts administrators, musicians, and other stakeholders. By considering their own institutional histories, for example, orchestras could better understand and address the challenges and opportunities of the present.

Over the course of three days, six panels, four breakout sessions, and two concerts, our small Rackham Amphitheatre was filled to capacity. Nearly 200 participants gathered to have an open conversation about the state of orchestras, creating a collective snapshot of the industry and offering up possible solutions to the difficulties so many face. Participants included representatives from the New York and Reno philharmonics, the San Francisco and Memphis symphonies, the Philadel-

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limiting musician leadership.

Participants addressed possible solutions borrowed from other nonprofit industries with similar difficulties, including the integration of open-source or community content currently being explored in the newspaper industry. Brian Rood— president of the International Conference of Symphony and Opera Musicians (ICSOM)— cited Michael Kaiser’s strategy Summit organizer and University of Michigan Associate of meeting financial shortfalls Professor of Music Mark Clague with bold artistic ideas that people who will never go to a subscription capture both critical and community interconcert. Memphis Symphony Orchestra est. Detroit Symphony Orchestra Music CEO Ryan Fleur pointed out that while Director Leonard Slatkin talked about the some of the innovations he has helped way financial dynamics have shifted, espeimplement are community-specific, others cially during the current financial crisis. are broadly applicable: “We play the great Much of the conversation, however, works, but also mentor in inner cities, have looked forward instead of back. Speakdeveloped a leadership training program ers on the “Reconceptualizing the SymProblems and Solutions with Fortune 500 phony” panel were Several themes surfaced over the course of companies in Memasked: What might For many conference the summit. To be sure, some longstandphis, and are workthe symphony oring and expected problems resurfaced, but participants, the answer to the ing with a children’s chestra look like in these were addressed from new vantage hospital on music25 years? Who is its financial and organizational points. Scholars and leaders explored the therapy programs.” audience? What is challenges that face most historical underpinnings of the so-called The orchestra’s its structure? What “income gap”: the ever-growing difference institutions today lay in capacity to educate is its relationship to between ticket revenue and expenses. One community memits community? For deepening community of the causes of the gap was felt to be the bers of all ages was many, the answer connections. nineteenth-century organizational choices another recurring to the financial and that led to the corporate orchestral model, theme. University of Michigan’s director organizational challenges that face most which stimulated fundraising while disof orchestras, Kenneth Kiesler, voiced an institutions today lay in deepening comtancing the ensemble from its audience and impassioned call for an integrated emphamunity connections.

University of Michigan Director of Orchestras Kenneth Kiesler (left) sis on education of the total human being, Robert Birman, exspeaks with former Detroit Symphony Orchestra bassoonist and in part by providing every child the opporecutive director of historian Paul Ganson. tunity to experience artistic expression, by, the Louisville Orsay, playing or composing music—not just chestra, argued that observing. What inspired Kiesler was the one key to success orchestra’s “spirit of being of service—genis a comprehensive uinely of service, authentically of service.” business model that Paul Austin, a hornist with Grand Rapcreates new “entry ids Symphony, suggested that the need points” to engage for education included those within the community memorganization and hoped that new board bers of every age not members might receive training about the only in performances special needs of orchestras as distinct from but through teachfor-profit businesses. Many felt that, ining, advocacy, and stead of relegating educational activity to collaboration. Sevone department within an orchestra’s aderal people suggested ministration, teaching and advocacy must that if orchestras permeate the work of musicians, managare to thrive in their ers, and board members alike. Certainly, communities, they universities are one potential resource and will have to matter to phia and Louisville orchestras, and the Detroit Symphony Orchestra, as well as foundations (Mellon), consulting firms (National Arts Strategies), and universities (including Michigan, Harvard, and Roosevelt). (See the summit website for a comprehensive list.) Our conversations were organized around two themes developed in conversation with League of American Orchestras President and CEO Jesse Rosen: 1) how organizational structures and strategies have aided or hindered the orchestra’s success, and 2) the symbiotic and multifaceted relationship between an orchestra and its community. Relying upon individual experiences to explain industry-wide issues can be problematic, but the broad swath of participants and interactive format fostered a “we’re-all-inthis-together” spirit that inspired productive discussion.

collaborator regarding education, but there are many, including senior centers, secondary schools, and community centers.

Others suggested that if orchestras could behave more like educational institutions, and less narrowly as purveyors of concerts, the results would be broad and profound, and that their value to their communities might be significantly increased.

to teacher, board member to civic leader.”

Central to both community engagement and education is partnership, which served as a unifying theme for the summit’s final panel, “Sustainable Partnerships: What Works?” While most orchestras take part in one or more cooperative ventures, many partnerships are artistically ineffective and financially unsustainable. Accord-

Left to right: University of Michigan Associate Professor of Strategy Michael Jensen, Pittsburgh Symphony Orchestra President Lawrence Tamburri, and Summit organizer Michael Mauskapf speak at a panel on “Thinking Outside the Box: Organizational Structures and Strategies.”

Ayden Adler, director of education at The Philadelphia Orchestra, re-examined the values implicit in American orchestra culture to expose its hidden hierarchies: art over entertainment, professionals over amateurs, concert halls over community venues, symphony concerts over education concerts. Adler argued that orchestras often focus on increasing the supply of concerts rather than attending to audience demand, and advocated for thinking of art as a spectrum of possibilities. Reno Philharmonic CEO Tim Young and Music Director Laura Jackson said their orchestra, which remains in the black and continues to expand its programming despite Nevada’s dire economy, has increased community investment in part through an active online dialogue with its audience. As a result Reno just founded a third youth symphony and included more than 400 community musicians in its sold-out holiday concerts. For Jackson, “artistic wealth is created one neighbor at a time—person to person, musician to listener, conductor americanorchestras.org

ing to Russell Willis Taylor, president of the nonprofit National Arts Strategies in Washington, D.C., partnerships must be undertaken strategically and in a spirit of mutual investment. Each partner organization must align its efforts and goals, focusing on both what it “brings” to the relationship and what it “gets.” For Taylor, collaboration is a muscle that must be exercised regularly—with every arts organization’s first and most important collaborator being its audience. Aaron Dworkin—founder and president of the Sphinx Organization, who has initiated numerous partnerships as an administrator and a violinist—offered advice about creating successful collaborations. Dworkin said that partnering organizations must create written, plain-language documents that make mutual expectations and responsibilities clear, but warned that they should “trust but verify.” For Dworkin, verbal arrangements are not sustainable and successful partnerships need to make sense not just to a few individuals, but to the whole or-

ganization. Many on the panel suggested that being selective in identifying partners and integrating these relationships deeply into an organization’s activities is more effective than creating a number of superficial associations. Susan Key, director of education for the San Francisco Symphony’s Keeping Score project, highlighted, for example, the importance of the symphony’s deep, ongoing relationships with local music teachers.

What then, might a successful collaboration look like? One example suggested at the conference of a thematic festival that successfully integrates the work of scholars, historians, administrators, and musicians was panelist Joseph Horowitz’s “Dvorak in America,” a collaborative public program that often involves orchestras as well as teachers and students from kindergarten through graduate school. Scholars from organizational studies and other business disciplines need to do more to help understand what motivates listeners to attend classical concerts. Academics participating in collaborations with orchestras need access to current data and historical records as well as the ability to publish results in academic journals. Orchestras, on the other hand, need practical (not just theoretical) conclusions and some protection of confidentiality. Barbara Haws, the creator of the New York Philharmonic’s extensive new online archive, urged orchestras to study, value, and leverage their own histories, but also asked participants to lobby for the inclusion of music and orchestras into the broader narrative of American history. If the histories taught in secondary schools and colleges ignore the contribution of music and orchestras to American life, it becomes that much harder to make the argument that music matters to our future donors and policy makers, who have no exposure to the art form in school.

One concept that gathered momentum over the course of the summit was service exchange. Introduced in the opening panel

by Ryan Fleur, service exchange refers to the hiring of musicians for services outside of rehearsals and concerts, such as teaching, mentoring, or even hosting a local radio show. When implemented cooperatively by musicians and management, this model can strengthen an orchestra’s social-service mission and eventually may help to balance its budget and multiply its community connec-

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nation to better share ideas and offer positive and productive models to meet today’s challenging economic environment.

Further, one of the summit’s co-sponsors—the Ann Arbor Symphony— has launched “Ann Arbor Listens,” a communitywide project inspired by the national one-book community reading programs. Although in its Reno Philharmonic President and CEO Tim Young describes his initial stages, this proorchestra’s community-engagement efforts. gram has the potential to focus the activities of arts organizations tions. At the same time, service exchange throughout the city (including the orchesprovides musicians additional paid work tra, university classes, the local piano teachthat is personally fulfilling. Joseph Horowers guild, and public school programs) on itz, in particular, felt that service exchange the music and life of a single composer. addressed what he saw as the “oversupply of Finally, we hope the conversations orchestra concerts nationally,” in which instarted at the American Orchestras Sumdividual performances are only rarely spemit might inspire similar events by orgacial civic (or even national) events. nizations elsewhere in the country. Perhaps an independent, industry-wide think tank Post-Summit Goals would find broad support, bringing toThe goal of the summit was to instigate gether musicians, administrators, researchaction. In order to increase the likelihood ers, and board members at regular intervals that the summit might inspire successful to discuss innovative projects, we schedsolutions to problems uled four “breakout Attendance at the summit facing the industry. sessions” at the end One thing the sumof the first day, invit- exceeded expectations; mit made clear was ing all attendees to clearly we caught a wave of that fruitful convervoice their opinions interest due to widespread sations can and will and exchange ideas happen when 1) they in a congenial fo- concerns through the include all invested rum. Arts consultant orchestra industry. parties, and 2) they and industry blogare held at a time and place safely removed ger Drew McManus also created an offrom a budget crisis or labor action. ficial blog at InsidetheArts.com, allowing What we think made the summit most more than 1,500 people to experience the exciting was the inclusion of the “next gensummit online. These blog posts have been eration” of musicians and arts leaders—our archived and are linked to the summit webstudents. The astronomically competitive site, along with videos of all panel sessions marketplace for top orchestral posts inand the closing conversation with Boulez. evitably leads musical training to focus on Although it is still early, several notable performance to the exclusion of arts-adprojects have already resulted from the vocacy skills. Yet if orchestras are to serve summit’s efforts, including “AE Central the community in the broadest sense—as Consulting,” in which teams of current educational institutions—a broad set of MBA and other university students work skills will be needed. We are encouraged with orchestras free of charge through Arts that more than 150 University of MichiEnterprise Central—a national initiative gan students attended some portion of the linking arts and business education. With summit. Nathan Platte—a recent musicol“Sounds of Success,” students at the Uniogy Ph.D. graduate from the University of versity of Michigan are cataloging current Michigan—remained hopeful, writing in success stories from orchestras across the

Composer and conductor Pierre Boulez (right) and University of Michigan professor emeritus Glenn Watkins at the summit’s closing event.

a summit blog post: “More and more students want to invest their lives in music. If these students are taught to approach music-making as a means to an end”—e.g. as a community service—“and encouraged to develop skills in organizing and sustaining new musical initiatives, the future of American orchestras may be bright indeed.”

If you are interested in taking part in one of the projects mentioned in this article, contact us at orchestrasummit@umich.edu.

For more on the summit, including a full schedule, list of participants, and a video archive of the panels, visit http://sitemaker. umich.edu/orchestrasummit. More information on Arts Enterprise can be found at www.artsenterprise.com.

MARK CLAGUE is associate professor of musicology, American culture, and African American studies at the University of Michigan and directs the school’s American Music Institute. He is a frequent pre-concert speaker for the University Musical Society and the Detroit Chamber Winds and Strings, and has written for the Detroit Symphony Orchestra.

MICHAEL MAUSKAPF is a Ph.D. candidate in musicology at the University of Michigan, where he is writing a dissertation on the American orchestra. He is executive director of Arts Enterprise @ UM, a pioneering student organization that explores the intersections between art and business.

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Special Offer for Board Members We know how much you care about your orchestra, so we’ve created a League of American Orchestras membership especially for board members.

Through your orchestra’s membership, you already receive benefits such as Symphony, Board Notes, online discussion groups, and access to the League’s experts in our Knowledge Center.

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The League’s Membership for Orchestra Board Members provides further access to the help and resources you need as a board member. Best of all, it gives financial benefit back to your orchestra.

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To join today, please go to americanorchestras.org or call Member Services at 212 262 5161.

Stat of the Arts ■ Number of children nationwide in El Sistema, Venezuela’s free, government-supported music-education program, founded in 1976

300,000

■ Number of kindergarten through 7th-grade students enrolled in 2009-10 in Youth Orchestras of San Antonio’s free, El Sistema-inspired afterschool program, founded in 2008

160

■ Number of members in the first class of New England Conservatory’s El Sistema USA Abreu Fellows program, launched in October 2009

10

■ Number of Facebook fans of El Sistema USA, a new network to support and expand El Sistema programs in the U.S.*

619

■ Number of YouTube views of violinist Joshua Bell playing in the Washington D.C. Metro station on the morning of January 12, 2007*

1,720,069

■ Number of passersby who stopped to listen to Joshua Bell playing in the Washington D.C. Metro station on the morning of January 12, 2007

7

■ Number of YouTube views of CATcerto, a piano-orchestra work based on the viral video of Nora the Piano Cat, performed in 2009 by the Klaipeda Chamber Orchestra in Lithuania*

1,945,451

■ Peak number of viewers for a single episode of BBC Maestro, the conductor reality TV show that aired in summer 2008

1.9 million

■ Peak number of viewers for a single episode of the 7th season of the TV show American Idol, aired in 2008

38 million

■ iTunes download rank for The 50 Most Essential Pieces of Classical Music album*

76

■ iTunes download rank for The Essential Michael Jackson album*

91

■ Winning July 2009 bid for a Hofner Senator guitar owned by John Lennon

$336,979

■ Winning April 2009 bid for Roy Rogers’s OM-45 Deluxe Martin guitar

$554,500

■ Winning May 2006 bid for “The Hammer” Stradivari violin

$3,544,000

*As of March 19, 2010

In the public eye…

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