Arts Issues for Artists & Presenters: May 2007 Archives
This past week, the Missoula Symphony Orchestra named its new music director after a two-year search that included a full season of auditions by five finalists for the position. Although commonplace among most American orchestras today, the search process was probably quite bizarre to locals, who had never before seen a full-time conductor vetted in such a way for the orchestra. (The last time a conductor was hired -- more than 20 years ago -- the job was still part of the duties of a professor at the University of Montana, who was hired through more traditional academic processes.)
The new conductor, Darko Butorac, is at 29 years old less than half the age of the previous conductor, Joseph Henry. He's also less than half the age of some of the members of the orchestra. The 6'4" conductor proudly notes he can dunk a basketball, and is a big fan of the Phoenix Suns.
This is, needless to say, a sea-change for the orchestra (the previous conductor once admitted to having heard OF the Rolling Stones, but was unable to name any of their songs).
There has been much attendant excitement throughout the interviewing and audition process, with good attendance at concerts and much media coverage. The orchestra has sounded markedly better, playing with an intensity and unity that wasn't previously the norm.
On Thursday, I attended an event welcoming our new conductor to the community. The mayor passed him a "baton" to the city, more than 100 people showed up (pretty good for a midweek morning in this small town), and the sense of a New Era for Missoula was palpable.
After the welcoming event, I walked to a nearby coffeeshop with a friend who plays in the orchestra. As we chatted, it emerged that he was preoccupied with a question that has likely crossed the minds of many in this town: What is the real potential for change, now that this new conductor is here?
Ostensibly, theoretically, the sky is the limit. But more realistically, there are issues both practical and philosophical that limit the local orchestra's ability to rise to world-class artistic status.
Like every small-town orchestra today, the first of these issues is the size of the orchestra's budget. Though I've never heard a member of the MSO complain seriously about the pay they receive -- which, in most cases, is less than minimum wage -- it's clear enough that the orchestra is unable to attract professional musicians to this town based on its compensation package; it must instead rely on the charity of whatever players are available and willing. Fortunately, the the University of Montana has a strong music faculty, stacked with pro-level players who are willing to play in the orchestra simply for the experience. However, that faculty can't fill an entire string section -- or even a flute section.
The bigger issue, however, is philosophical. The MSO remains fundamentally a community orchestra, meaning that part of its goal is to provide members of the community with an opportunity to play orchestral music. There are players in the orchestra who likely could pass no professional audition; but they are provided with the priceless opportunity to participate in the glorious experience of playing great classics of the repertoire through their participation in the MSO. These are our doctors and receptionists, our busboys and businesswomen. Some make up in extra effort and preparation what they lack in professional training and experience; but some simply can't.
Thus it's safe to say that, in the foreseeable future, the Missoula Symphony Orchestra will not rival the Berlin Philharmonic on purely artistic standards.
My friend in the orchestra wasn't frustrated by this limited potential of the orchestra. Rather, he seemed more worried about the unrealistic expectations of members of the community who might suddenly lose sight of what the orchestra is really about. He worried that a coinciding push for a new, multimillion-dollar performing arts center in Missoula might further feed the fervor.
He has a point. The value and success of this orchestra to this city cannot -- SHOULD not -- be gauged solely on its ability to play music flawlessly. Rather, its most important role is to engage the community in great music, draw it into interaction with the artistic process, and provide a forum for townspeople to share as actors and audience in the sacred social ritual of performance.
The Missoula Symphony Orchestra has a new leader. I just hope that boosters of the orchestra don't allow the buzz to obscure the true value of this band to this town.
I recently took a nationwide survey conducted by Americans for the Arts.Â (If you haven't taken it yet yourself, you can find it here--but responses must be submitted by Friday, May 11).Â Once you finish the questionnaire, you wind up in a public forum where you can comment on an issue raised by the survey, or anything else that strikes your fancy.Â I think that's a great idea, rather than the standard "Thanks for your feedback" page.
One comment I saw there struck me, however.Â It's from a longtime arts educator who laments the cuts to arts in the schools.Â Fair enough.Â But then this person notes, "The baby-boomers are currently sustaining the arts venues through philanthropy.Â This will stop soon.Â We have not trained the next generation of music and art aficionados."
I won't name the commenter here since it is basically irrelevant; I have heard this line of thinking before and I also don't want to seem as if I am harping on one person.Â However, as someone firmly within Generation X (I'm mid-30s), this Boomer-centric mentality gets to me.Â Are X-ers (and Gen Y) really contributing to the arts at a lower rate than Boomers did at a similar age?Â If that is true (and I haven't seen numbers one way or the other yet--if anyone has those, please reply in the comments), we must consider the larger debt load Generations X and Y are leaving college with, as well as larger factors like the instability of Social Security.Â Charitable giving is something most people can manage only after the essential bills have been paid.Â I'm stepping up my contributions this year now that I'm finally in more of a position to do so.
I think the commenter's thoughts reflect a larger fear about what will happen to the culture once Boomers are no longer in control.Â The generation that once distrusted anyone over 30 now seems to dismiss anyone under 40 (important caveat:Â I'm not saying all Boomers react this way).Â Change can be a little scary; I'll admit I already feel out of sync with the current crop of 20-somethings who've never truly known a pre-Internet world (I left for college with an electric typewriter!).Â But culture has a surprising way of regenerating itself--it's just that the new forms may look unfamiliar. Â
In this neck of the woods, Madison Repertory Theatre is currently staging Samm-Art Williams' "Home," about a rural African-American man in tiny Cross Roads,
The audience at "Home" on a recent Sunday was more diverse than I usually see at Madison Rep, both in terms of age and ethnicity. The crowd felt a little more alive, thanks to a large contingent of teens. "Home" is being presented as part of the "African-American Artist Series," which I have mixed feelings about. On the one hand, it's obviously worthy to have a regular, ongoing commitment to working with playwrights, actors and directors of color. Yet on the other hand, why must this be set aside in a special series? Shouldn't this be happening more frequently, as a matter of course?
My review of this show appears later this week in Isthmus,
In the meantime, here's some coverage of the play from Capital City Hues, a local multicultural paper (including an interview with actor Patrick Sims, who is also a professor at the University of Wisconsin).
UPDATE:Â Here's my review of "Home" from the May 4 edition of Isthmus.
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Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog