Woo-boy. I’ve chronicled various marketing disasters from the world of classical music before… but I don’t know that I’ve run across something like this. In other cases, the mishaps were often the result of good intentions gone wrong (been there), ideas that seemed good at the time (been there), working too fast (been there), or some similar reason. In short, they were unintentional.
This one by the Fort Worth Symphony Orchestra (FWSO) was not. Continue reading
For those of us involved in the arts, the past few months have been a time of… well, high drama. President Trump jolted the country by unveiling a budget that called for the elimination of funding for the NEA (along with the NEH and the Corporation for Public Broadcasting). In response, there has been a flurry of articles, studies, and discussions that have explored how and why the arts are important. There is a new interest in detailing the value of the arts, and what benefits they convey upon individuals and society as a whole. A key part of this emerging discussion has been how to show relevance, as well as how the arts can improve their relevance. Several of these articles have been brilliant.
But not all of them.
Yesterday, George Patrick “GP” McLeer, Jr., Executive Director of the South Carolina Arts Alliance, tossed his hat into the ring with a blog helpfully titled Ten Things in the Arts that Should Die. This article focused on 10 things arts organizations could do to attract people and make themselves more responsive to their community.
And my first thought was, “here we go again.” Yet another well-meaning arts aficionado has posted a click-baity list about how to save the arts. And indeed, that seems to be the case. But as I read through the list I became convinced it wasn’t simply light-hearted, but a recipe for disaster.
I don’t doubt GP’s sincerity or commitment to helping the arts, but as the Board President of an arts organization, an arts administrator with years of experience under my belt, and as an active performer, let me share a few thoughts about this list’s problems. Continue reading
Edward Elgar’s The Dream of Gerontius is frequently regarded as his masterpiece—a towering oratorio noted for its complex score and profound religious message. In the autograph score, Elgar wrote the work represented “the best of me,” and countless listeners have agreed with him.
It is, quite simply, one of the greatest spiritual dramas ever written.
Gerontius is based on Cardinal Henry John Newman’s epic poem of the same name, which traces the journey of the soul from death to its arrival before the Throne of God in a vivid dramatization of Catholic theology. Along the way it explores some of the greatest questions of the human experience: what is our purpose? What is a good life? And what is the nature of God? But the score is so vividly drawn, and filled with such fascinating incidents and memorable characterizations that it never feels like a religious lesson or a string of platitudes.
Unfortunately, the work is still something of a concert rarity in the US—quite a contrast to the situation in Britain, where it generally considered a national treasure, and performed almost with the same regularly as Handel’s Messiah is here. For listeners coming to a performance on this side of the pond, this represent a double-edged sword. On the one hand, they will be able to experience this lush, late-Romantic score completely fresh and without preconceptions. The danger is that because it is such a dense, many-layered score that some of its complexities will be lost.
I have the pleasure of performing Gerontius this spring with the Minnesota Orchestra, Minnesota Chorale and a crack team of soloists under the direction of Edo De Waart, and it has been a thrill getting to know this sublime score. Allow me to share some insights to help new listeners understand it better. Continue reading