Gustav Mahler, artist and administrator
Marc Giosi is both an artist and an arts administrator. This talented and well-educated pianist holds the position of Executive Director for the chamber ensemble Chatham Baroque, and formerly worked with Chamber Music America. Consequently, he has seen both “sides” of the equation when it comes to presenting an art form. He understands the management dynamics of development, audience growth, and good financial management. At the same time, he recognizes the challenges to being a working artist and presenting great art. Ultimately the two aspects of his nature combine organically, and so he writes, “The ability to speak genuinely about Bach, Chopin, or Shostakovich reflects commitment to the art form, and the fact that presenting concerts is not simply a day job for me.”
For a fascinating look into the world of art and arts management, read Marc Giosi’s “The Art of Administering” (click here to read full article).
Colin Pinto-Martin, a percussionist currently in conservatory, wonders about his own future and the future of his art form. Conservatories across the country are producing highly skilled musicians, but if the art form has only declining audiences and declining interest, what does that mean for all those currently in training for the orchestras of tomorrow? Pinto-Martin considers the changes in audience, their waning familiarity with classical music and the growing informality of culture in general, and he sees tremendous uncertainty. The question then becomes what are the musicians themselves willing to do in order to change that future. He writes, “If we as musicians and artists don’t begin to adapt to a rapidly changing culture soon our craft will be as valuable as making buggies for horses.”
The Muse Dialogue offers some provocative thoughts and challenging questions from a young musician who argues that musicians themselves are partly responsible for the situation, and must take up responsibility for its future. Read on in “All Dressed Down, Nowhere to Go” (click here for full article).
TMD continues its series on emerging artists in classical music today with a rethinking of the the problem and the solution. We know that audiences are declining, and so classical music organizations respond with innovative presentations, non-traditional performances, and clever marketing approaches. While well intentioned, such efforts miss the real problem in the opinion of Annie Gordon. They are nice, perhaps, but only “band-aids” to solving the issue of declining audiences.
Gordon argues that the very mindset of classical musicians must change first before any substantial change is possible with audience trends. “As musicians, we are preventing our own art from flourishing because we do not value with equal intensity our roles as music educators and mentors,” Gordon argues.
Join us for a consideration of how one defines the role of “musician” in this article from The Muse Dialogue, “The Classical Musician’s Paradigm Shift” (click to read full article).
Erin Yanacek fell deeply in love with music at the age of 12, and that love evolved into the yearning to make a career of it. Now in her twenties, with many accomplishments and success in conservatory training already achieved, she finds herself painfully separated from that initial love.
What happens when an artist, initially motivated by love, faces the prospect of alienation from their art because of the demands of the profession? When an artist is so immersed in their training that the demands of technique eclipse the joy of art making? The problem is not new, but it is a particularly challenging one for young classical musicians, who have demanding practice schedules and daunting prospects regarding available positions.
Yanacek is at such a point and writes, “I play the trumpet for a living and long to be furiously in love with this art form. Why does this awful feeling plague me?” She shares her powerful story in this offering from The Muse Dialogue, “Seeking the Love of Music That I Once Felt.” (click to read full article)
Lincoln Center, former home to the New York Opera (Photo: Nils Olander)
The Muse Dialogue continues our series on the impact of changing generations on the arts. In this article we ask the question of whether these shifts may imperil certain art forms, and asks the question: Even if Millenials do support the arts, does that mean that they will continue to support all art forms?
Andrew Swensen writes, “The matter for me is not just about “arts marketing.” No, this is a question of the survival of art forms in the face of demographic shifts and concurrent shifts in participation. I do not necessarily ascribe to some notion of arts Darwinism – that some things perish as part of the natural order of things. Yet the truth is that there are indeed some art forms that have largely passed away. Yes, I can’t remember the last time I saw someone working on a fresco.”
Click here to read our latest article from The Muse Dialogue, “A Question of Arts Survival?”
Penny Anderson Brill has explored the connection between art and healing in a personal way. A graduate of Juilliard, she joined the Pittsburgh Symphony Orchestra in 1980, as a violist. Yet her commitment to music and its potential impact has taken her not only to the stage but also to area hospitals and wellness programs. Her work in bringing art to healing environments has attracted international attention, and I wanted to learn more about this artist who has translated her virtuosity into serving the wellness of many over the years.
Click here for Jessica Ryan’s interview with the fascinating Penny Brill, who has demonstrated first-hand the healing power of music.