Making The Rounds

After reading this article and following reports of arts organizations collapsing everywhere due to the economic crisis, I've made a decision to devote the ensuing months to making the rounds in the intensive care unit known as the arts, and charting my observations on this blog. I want to find out just what makes audiences tick, and compare the various strategies employed by marketers during a recession. So, I suppose this is a first installment in a series of critical reviews.

I began with a venture to a former haunt: the Seattle Symphony at Benaroya Hall. The program featured English violinist Tasmin Little in the Elgar Violin Concerto. Little is a charismatic performer who is dedicated to the mission of bringing classical music to the masses. Her album, The Naked Violin, received the Classic FM Award for Audience Innovation at the 2008 Gramophone Awards. Ms. Little embraced the internet and offered up a free down loadable recital of solo violin works on her website; the catchword naked alluding to unaccompanied works of Bach and Ysaye. She has followed up "The Naked Violin" project with "Partners in Time"—a disc of works for violin and piano illustrating the chronological development of composers and their fondness for the two instruments. Ms. Little's photo gallery shows her in beguiling poses, and she definitely falls into the category of eye candy.

One seldom hears a live performance of the Elgar. It's a long song, as they say in the biz; a song that tends to meander. The concerto was dedicated to Fritz Kreisler. The recording of Heifetz is, in my opinion, unparalleled. Paired with Dvorak's rarely performed Symphony #6, I wondered if this particular concert might prove a beneficial sleep aid. Based on the number of empty seats, I'm guessing the program was not a hot sell. I watched as the orchestra musicians strolled on stage, the ensemble as a whole appearing a bit glum. But I was captivated by the guest associate concertmaster, Angela Fuller, who took obvious delight in the music and conveyed a sense of vitality.

Tasmin Little gave a poised account of the Elgar. The broad range of dynamics proved helpful to the lengthy composition. She has a penetrating sound, and communicates a natural ease with the orchestra and audience. I was somewhat distracted by Little's ever-present, wobbly vibrato throughout the work, most noticeable at the beginning of the concerto.

At the intermission, not wishing to leave my seat, I couldn't help but hear the couple from a row behind:
He: Didn't grab me—how about you?
She: Well, it was pretty. Pretty stuff.
He: Was there an actual theme?

The second half of the concert featured the Dvorak Sixth. To paraphrase a past(?) local critic, the orchestra and conductor dispatched a reading of the writing.

photo of Tasmin Little from telegraph.co.uk

Cruel Business

Why was Angela Fuller, the highly gifted violinist from Seattle, denied tenure as concertmaster from Houston Symphony after serving for two years in that post? Did she not play her cards right? I know she's a marvelous musician. Houston Symphony will be searching for a new concertmaster as of next season. Cruel business; denial of tenure can be likened to a stamp of rejection. But Angela Fuller is a young woman, and I'll bet the best years in her career are yet to come. If I remember correctly, Angela was the only Seattle musician invited to join the parade—or shall we call it a charade—of violinists who auditioned for Seattle Symphony concertmaster opening during 2004/05 season, the result of my husband's sudden terminated contract after twenty years.

Personally, I think being slapped with a rejection is tough at any age. But then, how many of us come through this profession unscathed? It seemed obvious years ago to a number of people, including myself, that Gerard Schwarz had someone in mind as concertmaster for Ilkka's replacement. It wasn't tough to read between the lines when I was hired as a substitute immediately following my husband's dismissal. The organization wanted me on their side. If I approved their actions, I'd be for hire like the good old days. If not, they'd teach me a lesson I'd never forget. But I would never play their silly game; my family is my life. What did they hope to accomplish, destroy my marriage?

One of the most memorable occasions following Seattle Symphony's announcement of a concertmaster search occurred during a rehearsal for the gala opening of 2004/05 season. I had the privilege of still being among the sub list in the first violin section. Prior to downbeat, former executive director Paul Meecham strode to the podium for an official announcement in front of the orchestra:
Many people have asked about Ilkka and our future plans for the hiring of a new concertmaster. We will spend this season auditioning prospective concertmasters. We'd like to assure you that your input is integral to our selection process. And Mr. Meecham concluded his speech, while I sat seventh or eighth stand and cried. As he left the podium, those around me stared in silence. I doubt Mr. Meecham knew that he'd fall victim to a process a couple years later.

When I received a threatening letter of hostility from my own former workplace last winter, I felt the sting of rejection. Thumper had it in for me after twenty years of service as concertmaster. Maybe he had someone else in mind for my job; I'm familiar with that scenario. But who knows? One day Thumper might be processed and feel the sting. Like I said, cruel business.