That's all, folks

Since I last wrote to introduce the Fellows class of 2007, I've been on the road, almost continuously. I was at the League Conference in LA for a week, then I traveled with the ASO to the Ojai Music Festival, then directly to the Ravinia Music Festival in Chicago. We just returned yesterday.

As I was sitting on the plane from Chicago to Atlanta yesterday, it hit me that today (Friday, June 16th) would be my last day that I could proudly wear the title of Orchestra Management Fellow. Of course, I'll always be an alum of the program, continuing the learning and leadership development with colleagues in the field. However, for the first time I realized that this chapter is almost finished - that realization snuck up on me almost before I knew it. It's a feeling of mixed emotions - wanting to continue in this fantastic journey, yet at the same time yearning for what's next in life. This year has been a tremendous experience - one that I will definitely never forget. All of the mentors, friends, tears, and laughter - and everything in between - has made this experience truly an experience of a lifetime.

As I close the book on this chapter of my life, I'm excited for the next new chapter - that of Director of Strategic Planning Engagement with the Atlanta Symphony Orchestra, beginning July 17th. Until then, I'm looking forward to a relaxing break on the beach - and moving into my new residence in Atlanta. Have a wonderful summer, and stay tuned for the adventures from the class of 2007!

Congrats to the Class of 2007!

The League just recently announced the new class of Orchestra Management Fellows. Congrats to:

Lisa Bryington
Kareem George
Michael Manley
Stephanie Trautwein
Katie Wyatt

You can read all about them and see their host orchestras here.

For the class of 2006, we are all swamped with finishing our assignments (4 weeks left!) while trying to find our next steps. More to come from us all in time ...

Congrats again to the 2007 Fellows!

from Peachtree Street ...

Once again, I type how hard it is to believe how fast time is passing this year. Today marks the four week completion mark for how long I have been with the Atlanta Symphony Orchestra. In short, here's what I have done / will be doing during my tenure here:

• Touring: My first weekend with the ASO was spent in NYC, as the ASO and ASO Chorus performed Verdi's Requiem in Carnegie Hall to rave reviews; my second weekend with this group was spent in Savannah, GA - the ASO had their debut performance in Savannah at the Savannah Music Festival; just following the Conference in LA, I'll go on the tour to the Ojai Music Festival in CA, and directly after this trip will make the quick trip to Chicago for the performance at Ravinia. Not only have I been immersed with great music and been able to get to know the musicians of the ASO on all of these tours, I have been learning (and will continue to learn through these next few tours) the operations side of touring from John Sparrow (GM) and David Daly (Operations Manager).
• CBA: I'll be working with John and David to prepare for the upcoming contract negotiations of the ASO. A part of this project is to collaborate with American Symphony Orchestra League Conducting Fellow Laura Jackson to fully understand the current CBA, analyize it, question it, and come to a consensus about what we like and/or what we would like to change/implement differently when we both move on to our respective organizations.
• Development: Working with Paul Hogle (VP, Development) and his crew, I'm learning about the development operations of the ASO - both their Annual Fund campaign and the Symphony Center campaign (for the new ASO Symphony Center). Additionally, we are brainstorming new ideas for measuring the successes and achievements of the development officers through redefining the tools of measurement. Lastly, I'll be an observer for the League's OLA Fundraising Seminar next weekend. All of this combined should take me from the basic Development 101 learning through understanding the immense ASO Development operations.
• Strategic Planning: This will be the bulk of my work, which entails: (1) facilitating senior staff meetings and a senior staff retreat on the evaluation of the 1998 Long Range Plan; (2) working with each senior staff member and with Allison Vulgamore to create and write an executive summary of the 2005-2006 season's real-time history and accomplishments; and (3) (combined with no. 1) facilitating senior staff meetings and their retreat to create a 3-5 year ASO operational document, including fiscal responsibilities. Fascinating work - both looking at the history and looking towards the future, and what changes and growth is possible.

Besides attending the ASO concerts and the work outlined the above, I look forward to connecting with a few friends of mine that now live in Atlanta, seeing the sights around town including the new Aquarium and the High Museum of Art, and hopefully seeing a few more sightings of Atlanta's own Baton Bob! (stay tuned for this explanation). :-) Until next time - that's the news from Peachtree Street.

♪♪♪ On the road again... ♪♪♪

How time flies when you're having fun! My tenure with the South Dakota Symphony Orchestra sadly comes to an end tomorrow, yet the memories and relationships I have made here will continue for years to come. When I found out that I would be working with the SDSO, I honestly had no idea what to expect - all of my previous experience was solely with larger-budget organizations. I was forewarned - pack warm clothes! Luckily, the weather was beautiful - in the 40's and 50's most of the time (except for that one extended weekend when it was an average of -25, not including the windchill). Weather aside, my time here has been wonderful.

There are four full-time employees on staff (Tom Bennett, ED; Linda Clement, Director of Development; Becky Simonz, Operations and Touring Manager; and Rebecca Breitag, Marketing Manager), and nine full-time musicians (one string quartet and one wind quintet) in the orchestra. The Music Director, Delta David Gier, is in his second season with the orchestra; he takes on the responsibilities of conducting and being a recognizable presence in the community.

From the comments I made in my last blog, I can still say that the connection this orchestra has with its community is absolutely outstanding. Tom has built a great organization in Sioux Falls during his 9-10 year tenure, and I have experienced first-hand the results of his time, patience, and dedication to the SDSO. The board members that he has recruited are fabulous - I can only hope that my board will willingly take such responsibility for the success of their orchestra!

My experiences here can be narrowed down to 4 categories: board, development, finance, and marketing. Not only did I have projects in each of these areas, but each category culminated in reports and presentations to their respective board committees, and included the executive committee and full board. Additionally, Tom asked that I make the stage announcements for three of the concerts, thanking the donors/concert sponsors from the stage. Lastly, I had the opportunity to attend weekly Toastmasters meetings with Becky (Thursday's at 6:30AM!) - a great way to develop confidence in your speaking and presentation skills. The impact of the experiences Tom provided me with are just now starting to fully sink in, especially as I review and evaluate this entire experience.

Alas, our final move to our last assignment is this weekend (some of us are getting a head start on Friday!). It is truly hard to believe how fast this year is progressing - and how little time we have left in this program! For all of those in the final interview weekend (next weekend, I believe), best of luck to each and every one of you. It was only just a year ago that the five of us arrived in New York City, not knowing what was to come in this year. This has truly been an adventure for each of us ... truly an experience that will last a lifetime.

Until my next post from Atlanta, here are links to our last orchestra assignments.

Lisa Dixon: The Boston Symphony
Marc Feldman: The Pittsburgh Symphony
Rachel Hermanson: The Atlanta Symphony
Vanessa Rose: The San Francisco Symphony
Mi Ryung Song: The Cleveland Orchestra

Adieu, Detroit: Welcome to Home in Sioux Falls, South Dakota

It’s hard to believe the amount of time that has passed already in this Fellowship. Our year is already more than half over! My time with the Detroit Symphony was an absolutely tremendous experience. Since I have left Michigan, I realize each day just how much I learned from everyone at the DSO – I am finding that I soaked up so much more information than I had realized. One of the hardest parts of this Fellowship, for me at least, is not simply being able to immediately jump into a new environment as if you have been there for years. Instead, it is being able to remove yourself completely from the work you were doing to move on to the next assignment. One’s removal is a removal both of leaving each project (if it is an ongoing project) in a place where someone else can easily step in, understand what has been done, and finish it through to the end, as well as a removal of the focus and attention you give completely to your projects. This wasn’t as hard to deal with in Aspen, as the summer is the entire assignment – once the performances stop, your work at Aspen is finished. I wasn’t fully prepared for removing my focus and attention to my projects when leaving Detroit. The work was left in such a way that someone else could easily take over, yet I found myself thinking about what was happening in Detroit while I was in NYC – and, honestly, still wonder what is happening today. The best part, however, is the many friendships I have made with the wonderful colleagues at the DSO – they are all keeping me up to date on what’s happening.

Now my travels find me in Sioux Falls, South Dakota, for seven weeks working with Tom Bennett at the South Dakota Symphony Orchestra. The environment here is completely different than any place else I have been – yet it is an incredible learning experience! My projects range from helping with an evening phone-a-thon to doing a feasibility study on the potential of hiring a second string quartet to developing the 2006-2007 season marketing plan - all in seven weeks! Last Thursday was the Annual Fund Kickoff for the SDSO. My assignment here: Tom asked me to speak about my initial impressions that I had of the SDSO, after being in Sioux Falls all of 12 days. I couldn’t have been more thrilled to share my experience, which I’ve summarized below.

On Saturday, January 14th, I departed NYC, thankfully with no flight delays, and landed in Sioux Falls, South Dakota around 5PM. After collecting my baggage and running by the Staybridge Suites to check-in to my new home, I was warmly welcomed by Tom and his wife, our board chair Darin Daby and his wife, and the evening’s concert sponsor over a delicious meal. During the dinner, I asked each couple how they would describe Sioux Falls. Their answer was that Sioux Falls is basically a suburban community, yet with no big city around. I’d have to say that’s absolutely correct – Sioux Falls has a tremendous amount of culture and offerings to be had, yet outside of the city is open farmland (after all, this is the mid-west).

After our meal, I was absolutely thrilled to hear the South Dakota Symphony in concert. (the concert was the Brahms Double Concerto and Steven Stucky’s Concerto No. 2 for Orchestra – Steven Stucky was in town and did a bit of explaining of his piece at the beginning of the second half – this including putting names of SDSO individuals to music, as he did in his concerto.) I’ve heard and seen many different orchestras in just the past few years, and the concerts I have heard and seen already by the South Dakota Symphony are unlike so many others. I get the impression that too often orchestras and their musicians simply expect people to come to a concert hall to hear their orchestra perform. They often appear to give little thought to the impact their cultural institution has on its community. The South Dakota Symphony is different from this stereotype. The musicians are truly engaged with the music they are making, and look completely enjoyed and enthused to be performing on stage, especially led by their conductor Delta David Gier, who upholds the same image. I took time during the evening to look opposite the stage as well, to look at the audience. The feeling of enjoyment and enthusiasm the musicians and David portrayed on stage carried across the seats, clear to the back of the house. The audience had expressions of delight, curiosity, and enjoyment for the evening’s performance across their faces. I believe the level of attention and engagement I witnessed at that performance is becoming what so many other organizations are striving for in concerts today. Not only are their concerts engaging and enjoyable (for both audience members and the musicians), but the community of Sioux Falls truly cherishes its orchestra. This relationship hasn’t happened overnight. It has happened by the perseverance and dedication from a number of key individuals throughout this community. They have worked hard to make certain the community of Sioux Falls feels a personal connection with this orchestra, which in turn creates a more meaningful experience for them while at a concert.

Though I miss the DSO, I am thrilled to be in Sioux Falls, South Dakota, working with Tom and his wonderful crew. All too soon (four and a half weeks, to be exact), I’ll be uprooted for the last time during this Fellowship year. Until then, Sioux Falls, I’m here to stay.

The Best...I mean, West Coast

The remainder of my assignment at Pacific Symphony seemed to pass in the blink of an eye. While sleep was a rare commodity, I wouldn't have traded any of my waking moments for an ounce of rest.

Phases Two & Three

I could feel myself blending into the culture and fabric of Pacific Symphony as the weeks passed. Even though everyone knew that I would be gone before Christmas, there was never any hesitation to speak in terms of "our goals" and "we achieved..." Heck, they even listed my name in the program books and website with the staff.

A significant portion of my responsibilities resided in the 2006 American Composers Festival. From naming the festival "Uncharted Beauty: The Music of Lou Harrison" to planning the content of video clips to be shown at festival performances, I was involved in the birthing stages of ideas that had been conceived by music director Carl St.Clair and others before my arrival. The educational DVD (produced and created by the all-star team at Narratus Solutions) and program companion (edited by Joseph Horowitz and designed by Lost in Brooklyn) required audio and visual elements that had to be sought and acquired with proper permissions from sources across the country. With the relentless efforts of everyone involved, we were able to create a fully designed 24 page color booklet and DVD, complete with interviews, archive images, and audio excerpts of festival repertoire.

Under the category of "other duties as assigned", I was charged with coordinating a press announcement of Pacific Symphony's inaugural season in the new Renee and Henry Segerstrom Concert Hall. With the talents of Mark Elliott (VP of Marketing and PR), Sara Yarnell (Manager of Special Events), Jennifer Ingraham (PR Associate), and Kate Peters (Narratus Solutions), we were able to organize and publicize this event while the Symphony's senior leadership (President, Music Director, Director of PR) were in New York City at press events for the new hall. It was an exhilarating project of true teamwork and the most satisfying kind of success.


The intensity of these projects, along with my involvement with various other departments throughout the organization, was balanced with the calm serenity of Southern California. My explorations extended as far south as San Diego, east to Idyllwild, and Santa Barbara to the north. A Fellow's experience cannot be complete without taking full advantage of her/his surroundings, and I fulfilled my mission to see/do something/somewhere new every week. Whether it was an Angels game at Anaheim stadium, a trip to see giraffes at the San Diego Zoo, wine tasting in Temecula, or checking out the Getty Museum in LA, there was never a dull moment during this assignment.

Thanks to John Forsyte and my many mentors and friends at Pacific Symphony, I will always remember the great times I had as part of the Symphony family in sunny Southern California.

WHERE ARE THOSE FELLOWS NOW?

Monday, January 2, was the first time the five of us (and our fearless leader Hilary Field) reconvened since our days in Aspen. It's great to see everyone again! Though skiing in Aspen sounds quite appetizing right about now, we actually met up with each other in New York City. For two weeks, our schedule is filled with countless activities, including: leadership training sessions, meetings with industry professionals, attending some Essentials of Orchestra Management OLA sessions, and attending concerts. The links below are a sampling of the various organizations we have or will be meeting with during our time here.

As quickly as we arrived in the city, we disperse just as fast. Our next stops along our Fellow journey are:

Lisa: Memphis Symphony
Marc: Los Angeles Chamber Orchestra
Mi Ryung: Baton Rouge Symphony
Rachel: South Dakota Symphony
Vanessa: Elgin Symphony

As I sign off for now, stay tuned for further postings from our next assignments.

American Federation of Musicians; ASCAP; BMI; Carnegie Hall; Colbert Artists Management; David Bury & Associates; G. Schirmer, Inc.; Lincoln Center; Meet The Composer; Mellon Foundation; Miller Theater; New York Philharmonic; Orpheus Chamber Orchestra; WNYC; Young Concert Artists

Our first orchestra assignments have concluded. I think we are all suffering a bit of post-partum depression. We don’t have too much time until our sessions in NYC start, though! Before moving on, however, I want to reflect on my own experience in Dallas. I haven’t written much since I started, and I want to share some of the last three months of my life.

I took part in and led some incredible projects. I think my “legacy” will probably be the complete revision of the web site, DallasSymphony.com. I am very proud of all the work the staff and the web site company (New Media Gateway) did to make this possible. We created a completely new site that offers easier navigation and presents interactive and interesting information about the orchestra. I barely knew how to do a blog a few months ago, and now I have overseen a whole web site. A steep learning curve certainly occurred for me. I also learned how to manage and communicate with staff, delegate tasks, set up deadlines and expectations, and act as liaison with an outside company. The project enabled me to work closely with different departments and present the site to the Marketing Committee and entire staff.

Other major projects I worked on included a major foundation proposal, the orchestra’s Texas Tour (made the musicians’ tour book, acted as bus captain, and assisted in operations), and managing and writing for the Playbill programs.

I am quite grateful for having been entrusted with such responsibility. For those of you that were skeptical of me being able to live in the stereotyped Texas, I must admit I really enjoyed it! I recommend a visit to Dallas (and a Fellowship if you can).

ACES

Detroit is home to the second largest Thanksgiving Day Parade - "America's Thanksgiving Day Parade" - second to Macy's Thanksgiving Day Parade. The Parade, first marching in 1924, stretches along Detroit's famous Woodward Avenue, and passes directly infront of Orchestra Hall. The architecture of the Max M. Fisher Music Center has glass windows alongside Woodward Avenue - perfect for viewing the parade on a blustery, cold, and snowy Thanksgiving Day (like this year!).

ACES (Association of Civic Ensemble Supporters) is an organization of parents involved in building a strong musical foundation for their children. ACES works to enhance their children's musical experiences and opportunities, mainly doing so through fundraising. For their second year, ACES found an incredible opportunity for fundraising - selling tickets for warmth and fun inside The Max for the Thanksgiving Parade! They had activities of all kinds set up, good food, warm drinks, and jazz ensembles (of Civic jazz ensemble members) performing throughout the morning. In addition, ACES set up bleachers infront of The Max and Orchestra Hall for additional viewing opportunities. All in all, a good time was had by everyone - and a big thank you goes out to the ACES family. Without their dedication and support, events such as this would leave a huge void in funding the variety of opportunities for their children.

A Fellow's Bellow

It's been a long time since my last entry, and much has happened. I've struggled to find the appropriate topic or experience to elaborate for our viewing audience. In order to stay true to our blog name, perhaps I will map out the path I've taken since our last days of summer in Aspen for you to follow. For the sake of brevity, I will present this path in three phases.

• Phase One: Post-Aspen to Week 3 at Pacific Symphony
• Phase Two: Week 4 to Week 8
• Phase Three: Week 9 to current

Phase One

There was a brief transition period of a week between Aspen and our first day at our first orchestra assignment. After having packed my life into my Mazda3 (which I've affectionately named "Trouble"), I took a slight detour from my route to Orange County, CA by way of San Francisco. For a fleeting week I had the chance to visit my alma mater (San Francisco Conservatory of Music) and see some friendly faces before charging off to another new and unfamiliar city. Never quite breaking from the Fellow frame of mind, I scheduled meetings with various people whom I've known as a student, and others who I met for the first time.

In order to help me better understand the orchestra field in general, I wanted several different points of view. From professional musicians, to top orchestra executives, to major community philanthropists, they all acknowledged that there are broad and deep issues to overcome. Similarly, all ten people agreed on a common need for fresh administrative talent in order to ensure the future success of quality orchestral organizations.

Armed with testimonials, warnings, and pearls of wisdom, I finally reached sunny Southern California for Orchestra Assignment #1 at Pacific Symphony in early September. I remember walking into my first day thinking, "My plate is completely empty now, but not for long. I wonder just how full it will get? What will I do?" Lo and behold, the following major projects became my responsibilities:

• Managing the development and production of an educational DVD and program companion booklet for Pacific Symphony's 2006 American Composers Festival featuring Lou Harrison
• Coordinate the educational outreach and ancillary events related to the ACF in May 2006
• Create a PowerPoint presentation of the highlights of Pacific Symphony's 2004-5 season by department and comparative financial charts for the past five years for the Annual Meeting of the Board of Directors
  
• Gather content information and create a tourbook for Pacific Symphony's first European Tour in March 2006
• Assist the planning process for developing a Symphony Education Center
• Participate in discussions regarding the reseating process for the new Renee and Henry Segerstrom Concert Hall at the Orange County Performing Arts Center (to open September 2006)
• Other duties as assigned*

In addition to establishing a solid grasp on the demands of my projects, it was important to me to get used to a new environment and get to know the roles, responsibilities, and past experiences of the 40 plus members of the staff. This dramatic change of pace from my work in Aspen, The Juilliard School, and SFCM, was a challenge to grapple with at first. Never having worked for a professional orchestra before, those first few weeks were a wake-up call to run alongside the organization's moving train fast enough to jump on before it chugged away into the distance.

Good news is, I caught the train at pace and have been working to help it move forward better and faster. However, this progress is not without difficulties. Like all worthwhile endeavors, there are sacrifices and critical decisions to be made. What no one really talks about regarding the Fellowship are the personal implications of being displaced from "normal life" for a year. For those of you out there who are considering this program, prepare yourself to be challenged emotionally, psychologically, as well as financially and professionally. It's every Fellow's reality.

*More to come in Phase Two...

THE EVOLUTION OF ORCHESTRA HALL

The Detroit Symphony Orchestra was formally founded in 1914, with the first concert being performed at the old Detroit Opera House. Ossip Gabrilowitsch (the DSO's first Music Director) renewed his contract under the condition that a permanent concert hall be constructed for this orchestra. Thus, the city of Detroit constructed Orchestra Hall in a record 4 months and 23 days. The Hall thrived during the 1920’s and 1930’s, yet during the 1940’s, the DSO relocated to Music Hall (partially due to financial difficulties brought on by the Depression). Orchestra Hall was rented by another tenant, and was re-opened as the Paradise Theatre. The Paradise Theatre presented our nation’s greatest jazz artists for over the next 10 years. However, after this era died down, Orchestra Hall was abandoned and fell into disrepair. At the same time, the DSO moved to yet another home, the Ford Auditorium, and remained there for the next 33 years.

In the 1970’s, the city of Detroit decided to tear down Orchestra Hall, yet a group of concerned citizens – led by (now former) DSO bassoonist Paul Ganson – rallied to save the neglected and run-down Orchestra Hall from the wrecking ball. Musicians and community members alike led numerous pickets, protests, and benefit sidewalk performances as part of the “Save Orchestra Hall” campaign. To much satisfaction, these dedicated music lovers and supporters succeeded in saving Orchestra Hall. After 20 years of restoration, and at the expense of $6.8 million and thousands of donated hours, the DSO moved back to its original home in 1989.

Fast forwarding through history a bit, here’s what happened with the DSO in the last decade alone:

· 1996: the DSO announced plans for a 3-phase project – a performing arts, education, and office complex on eight acres of land surrounding Orchestra Hall
· 1997: the DSO announced a record number of new contributions, in excess of $22.1 million. The lead gift was from philanthropist Max M. Fisher; thus, the designation for the new complex was the Max M. Fisher Music Center.
· 1999: the DSO received $6 million from Bernard and Marilyn Pincus. This generous gift was used to support the new Jacob Bernard Pincus Music Education Center (constructed as part of the Max M. Fisher Music Center)
· 2001: the DSO donated land behind Orchestra Hall to the Detroit Public School system for the creation of Detroit School of the Arts. (To note: last month, the DSO and DSA received the first Community Partnership Award, awarded by International Network of Schools for the Advancement of Arts Education!) The DSA encompasses the most technologically advanced set-up of any high school in southeastern Michigan, and rivals any other in the nation, both in terms of equipment and opportunities for students to have professional mentors.

So the question that lingers – what do you do with all this new space in and around Orchestra Hall? Fill it up!!! The DSO not only presents concerts in orchestra hall, but they are finding new ways to utilize all of the other spaces available in any way imaginable. Here are a few examples:

· Classical Conversations
· Classical Series
· Detroit Symphony Civic Ensembles
· Jazz Club at the Max
· Jazz Series
· Poetry Slams at the Max
· Pops Series
· Pro Musica
· Special Events (opening night, galas, Day of Music, Thanksgiving Day Parade Fundraiser, Holiday specials)
· Tiny Tots
· Volunteer Council Events
· Young People’s Concerts
· Rentals/non-DSO events (weddings, receptions, vehicle displays, awards/recognition presentations, other concerts, meetings, graduations, recognition banquets/dinners/parties, tours, lectures/seminars, etc.)

In addition, the DSO will be hosting a Donald Thulean Conducting Workshop, utilizing the new performance hall at the DSA.

These next few days are some of my most favorite days in Detroit, simply because there are events in every single space around the Max M. Fisher Music Center, and each event draws a completely different crowd. Just last night alone shows my case in point. There was a rental event in the Music Box, a Poetry Slam in Allesee Rehearsal Hall, and a DSO orchestra concert in Orchestra Hall – all happening simultaneously. The neatest part was seeing the three different and distinct crowds mingling together in the same place at the same time. Some people were looking around in awe and disbelief - they commented that they never knew such a facility existed in Detroit. Others came to the lobby for a drink, yet their curiosity drew them from their primary event over to the doors of Orchestra Hall and the DSO concert. Words can’t express the amusement and satisfaction of having so many people under the same roof enjoying vastly different events in downtown Detroit. Just as orchestras are exploring ways to broaden their scope to reach more individuals, this facility is expanding the scope of this institution. Listed on the registry of historic sites and considered to be one of the nation’s best acoustic settings for orchestral music, Orchestra Hall, in combination with the Max M. Fisher Music Center, has evolved - and continues to evolve - to the beat of a different drum, welcoming every type of audience into its home.

I can't believe it's October already!

As of today, the five of us are starting our sixth week with our first orchestra assignments. In some respects, I feel like we’ve just arrived at Aspen – yet that was clear back in June!

In any case, my first orchestra stop is with the Detroit Symphony. Thus far, my experience has been absolutely wonderful. I have a work-plan lined up, detailing the majority of the projects I hope to accomplish while working here with the DSO. I am working on various projects with every single department within this organization. This gives me a great feel for the inner workings of the DSO. In addition, I’m fortunate that I’m getting to know a good number of musicians and board members. The best part for me is being able to hear the variety of perspectives offered within this organization – from the staff, the musicians, and the board – then seeing how these perspective all work together to make a collective whole.

The concerts here are spectacular! This year is unique for the DSO – both the Music Director (Neeme Järvi) and the Principal Guest Conductor (Itzhak Perlman) have concluded their tenures with this organization. Because of the lack of these positions, in some ways this is “the year of the orchestra” in Detroit. Everyone has turned their complete attention towards the orchestra. To highlight this, the DSO's Performance magazine containts a center tear-out section which contains pictures and bios of each musician in the orchestra. There are a wide variety of guest conductors visiting, and each brings a different sound and character out of the orchestra. Regardless of who is conducting, the orchestra’s quality never waivers – the concerts are continually spectacular.

As I sign off for this posting and get ready to enjoy the last warm days of fall, I’d like to invite you to ask any questions you may have about this program (or the application process) to either my colleagues or myself. We would be happy to answer any questions you may have.

The First Concert
Last night I attended my first classical subscription concert with the Dallas Symphony Orchestra (my first host orchestra). Music Director Andrew Litton conducted and Yefim Bronfman performed Tchaikovsky's first piano concerto. Shostakovich Symphony No. 5 was the second half of the concert.

First of all, I can't sufficiently express the beauty of the Meyerson Symphony Center (including the many corridors where I have gotten lost this week). The Hall holds approximately 3,000 people, and last night it held close to that much with all age groups. In fact, it seemed to be a good college date night, I am happy to say. The Center is also designed so that the DSO offices are literally part of the building. I can walk ten feet from my desk and sit in the Hall for an orchestra rehearsal. Talk about seeing the fruits of your labor. Although I have been a "member" of the DSO staff for only four days now (I do have a DSO name tag and name plate at my desk!), I already feel a sense of involvement with the orchestra and felt fulfillment with the performance last night. The orchestra plays well, and I am excited to continue to hear them over the next four months.

In the past four days, every musician, staff, Board member, volunteer, and patron of the DSO (and the Center) I have met has been friendly and open, and has welcomed me warmly to the DSO "family." I don't know if it is a Dallas thing or not yet, but I have been quite touched. At this point, I am still not certain of a lot of my projects, but I have been included in almost every meeting and major decision-making of the organization. I have attended the Annual Board of Governors Meeting as well as Pops Programming, Concert Event Marketing, Gala Committee Planning, and Senior Staff meetings - to name a few. By virtue of being a fly on the wall, I have already learned a great deal.

Finally, I want to share a fabulous experience from last night. As I mentioned, Bronfman played the Tchaikovsky Piano Concerto. He performed with such musicality and substance that at the end of the first movement members of the audience were inspired to clap (I was moved to clap too). In response to the applause, Bronfman got up and bowed before moving on to the second movement. I commended him backstage afterwards, and he said "It was sincere. I really meant it." He did.

MUSIC FROM THE INSIDE OUT

Calling all those in New York City!!! Don't pass up the opportunity to attend the national release of the film, Music From the Inside Out. The premiere of this documentary is this coming Friday, September 9th, at the Cinema Village. You can get more info (including the films preview trailer, read comments from people throughout the country in the "forum" section, and read about the making of film itself) at the films web-site: Music From the Inside Out.

As for myself, while at Aspen this summer, I had the opportunity (along with the rest of my Fellow colleagues) to see a special viewing of this film. Much thanks goes out to Don Liuzzi, Coordinating Producer of this film, as well as Principal Timpanist of the Philadelphia Orchestra, for being so generous to set-up this special viewing. This was one of the highlights of my summer out in Aspen!

This documentary was created in part to show the general public why musicians do what they do. This in turn demonstrates why musicians are so passionate about their art-form. The first question the film opens with -- "what is music?" -- is never really answered. To me, that's the beauty of this documentary. The audience receives numerous descriptions from a variety of Philadelphia Orchestra musicians about why they are playing music, why they are in orchestras, and (a few times) what their other hobbies are -- but not a single person can articulate the answer to what music is.

The potential for this film is tremendous. I believe it reaches out to concert-goers across the board, helping the viewer (a new potential concert-goer?) to understand why musicians sit on stage each weekend and perform concerts for audiences. As a musician myself, I can whole-heartedly relate with each musician who spoke on the screen. Music creates a drive within me that is completely unexplainable -- whether it be playing my flute, accompanying on piano, or listening backstage to an orchestra concert. There's a power and a passion there that no one has successfully articulated yet -- it can only be felt. And as a part of management, I can also relate whole-heartedly with each musician -- this film solidifies the fact that I want to be an integral behind-the-scenes part of my work to allow musicians the freedom to do what they do best.

Additionally, this film could potentially be a very unique and impacting educational tool for students of all ages. So many times we see students shy away from music during school years, simply because "it's not cool." This film doesn't make music any more or any less "cool," yet it shows students the reality of the power of music -- as described above. And -- more importantly -- this film has a universal appeal in that is shows all different kinds of music has this drive, not just classical music. I believe that in using this film with the right teaching materials (I believe Don said he was developing these), school's will be able to instill a respect and understanding (if not also a curiosity to play an instrument) in all students -- this education in all students is vital to the longevity of success in orchestras.

Thus, I ask -- what are you doing Friday night??? Go check out the film -- and take a friend!! Then post your comments on the web-site. I guarantee that you (and your friend) will be entertained.

Do you still play?

For those of you that are currently performing musicians and are considering management, I want to share my personal experience this week. As we've mentioned, all 5 of us started our careers as players. Although I have tried to maintain my playing, I have been working full-time in management for two years, and have not kept my practicing as a priority. (I also don't have the eternal guilt feeling about practicing!)

Aspen offers such an incredible array of inspiring music and musicians that I admit my desire to play has returned. I have wiped the dust off my fiddle on a couple occasions and just played for my own pleasure. Recently, I was asked by a composer here to perform a piece of his for violin, cello, clarinet, and piano. I looked at the music and thought, why not? It was a fun experience, and resulted in a couple other invitations to play. One was for an ad-hoc orchestra. As I was playing Brahms 2 (one of my favorite pieces), however, I realized that this wasn't my ultimate source of fulfillment anymore. I of course enjoyed it, but I knew that in a professional situation I would much rather be listening to a high-level and captivating performance, knowing that I helped make it possible for the musicians, audience, and community.

The good news, is that I still have my chops, and still consider myself a musician. I will never lose my need and desire to play, and even as I forget to practice, my love for music on both levels will remain constant. If you can maintain a better balance, I commend you. I still believe, though, that once a musician, always a musician.

Countdown to the downbeat…

The Benedict Music Tent – home to all Aspen Festival Orchestra activities – becomes alive every Sunday afternoon. As friends and family filter into the 2,050 seat hall and descend with blankets, food, and wine, they create a buzz of pre-concert anticipation. Have you ever wondered what happens backstage while you enjoy lemonade and cookies on the lawn?

As orchestra manager of the Aspen Festival Orchestra, the hour leading up to the downbeat is focused on anticipating obstacles to ensure a smooth and enjoyable concert. This includes assisting the conductor, soloist, and concertmaster to make sure the dressing rooms are clean and stocked with water. I also check musician attendance and handle a variety of personnel issues. Last Sunday this included solving a missing bow tie incident, re-seating violinists due to an unfortunate case of food poisoning, and enforcing the orchestra dress code.

Stage manager-extraordinaire, Brad Kisicki, and a fantastic stage crew prepare chairs, stands, instruments, and audio equipment. Laurie Lake, the orchestra’s first-rate librarian, distributes folders and is the main contact for any last-minute music emergencies.

Once preparations are complete and the concert begins, it is time to enjoy the music and prepare for the next piece on the program.

With each concert I realize that the magic of the Aspen Music Festival and School depends not only on exceptional music, but on people. This includes on-stage musicians, everyone backstage, faculty, students, administration, and – most importantly – hundreds of people from the Aspen community and abroad sharing an afternoon of music.

Our First Portrait

Just to put names with faces (in case your only visual reference are the head shots on the League's Fellowship site), here's a shot of us taken a couple of weeks ago on the Aspen Music Festival and School's campus by Yako Stavrolakes, Manager of Orchestral Operations. From left, Mi Ryung (Sinfonia), Lisa (Festival Orchestra), Vanessa (Concert Orchestra), Rachel (American Academy of Conducting at Aspen Orchestra), and Marc (Chamber Symphony). This picture was published in the Aspen Daily News' Sunday edition. Lisa is a special writer for the Festival related column entitled, "The Score".

Aspen, July 27th 2005

A parenthesis from the management side of things and the general atmosphere of Aspen and its marathon of concerts, mountains and bears! I saw one last night near our residence.

The Aspen Chamber Symphony is working on the triumphant and however foreboding, Schulhoff Third Symphony, under James Conlon’s direction. Yesterday, they read the First Symphony. The first has all the experimentation of a young composer, with an enormous palate of colors to chose from. It reads like a treasure trove of early twentieth century innovations. A little Debussy, some Bartok, a wink to Shostakovich, some passing nostalgia for Mahler, a little Stravinsky and more. Yet, the more you listen, the more you start to hear Schulhoff’s unique sound.

The Third Symphony is another animal. But, so again Europe had changed in the years between the two works. By the time he wrote the third, Schulhoff became the example of “l’artiste engagé.” No more bourgeois colors and fun. This music is for the common cause. Is it a call to battle?

When one knows the story of Schulhoff’s life, the dark and sardonic side of his music speaks to us like an admonition from the past… There is an urgent “listen to me” sound in the Third Symphony. I try to imagine what it was like for Schulhoff, and so many other artists, Jewish or not, in Eastern Europe at this period in time. Did they have any idea of the ensuing debacle? Some did. Some didn’t. Who’s to say?

Listening to his music gives me a strange impression. The kind of feeling when one discovers a trunk in the attic filled with yellowed, urgent letters to people in foreign languages, sepia photos, old clothes and strange useless currency. It is all so curious. We smile sifting through the flotsam and jetsam of some relative’s past. But, then we find a photo album and we find faces that somehow look as if they could be us, still in youth, with all the fire of hope, of futures waiting to be lived. Completely contemporary, as if we could sit down with Schulhoff and friends at the Main Street Bakery,… as if he would step to the podium to correct a few notes.

Schulhoff believed that his music could change the world. His world needed changing. His world needed tremendous conviction, just to survive. But, we know now what can happen when we brandish a fist or a salute above our heads towards the future.

In that old trunk, behind the faded photos was a pile of scores. A voice is still talking to us. The sound is still fresh, vibrant and strong. There is nothing ghostly about it. There is no “resurrection” in this music. There is no “what could have been or should have been.” The story isn’t about his death, but about his music. We are playing his music. Conlon is working each section, each solo. Like any other piece of music. That is in itself a triumph.

Aspen, July 18th 2005

The first impressions of the fellowship are hard to grasp. For me so much has been thrown up into the air. Where will life and music set me down? What is happening to the sacrosanct “Symphony Orchestra?” How can I contribute both to preserving tradition and necessary evolution of the field? These questions are already floating around.

It is hard to believe that it has already been five weeks. Here I am, listening to a rehearsal with “my” orchestra, the Aspen Chamber Symphony. Today is the orchestra’s first reading of the Strauss opera, “Intermezzo,” with David Zinman conducting. The score is tremendously difficult. The musicians and singers have taken the challenge to heart.

Already, three wonderful concerts have passed and the summer has hit cruising speed for the Aspen Music Festival. Each concert has had its specific personality, energetic, refined, or full of the brute force of a fantastic Beethoven Ninth. The other orchestras have also performed with amazing conviction. The Festival Orchestra’s rendition of the Shostakovich 10th Symphony, under David Stern’s direction took the roof off the TENT (Aspen’s main concert venue).

It is equally hard to believe that a few short weeks ago I picked up and left my life in Paris. I have met with more than one incredulous look or inquisitive, “But why?” I left my keys with the landlord, accompanied my belongings to storage and packed two overstuffed bags from which I will live for a year. I got on a plane and traveled half way around the world to end up in the spectacular Colorado landscape. As if to add an element of surreal to this already nomadic existence, I awoke, jetlagged, to a snowy June 4th morning!

The fellowship is an unexpected change. It is a chance for someone like me, who has experienced music mostly from a performance perspective for the last two decades to work with the movers and shakers of the music profession.

The ensuing weeks were a whirlwind of rosters, operations, auditions for the students, meetings with managers, conductors and getting to know the workings of the huge machine that is the Aspen Music Festival.

In the middle of all this, my fellow fellows and I were shipped off to D.C. to be immersed in our first League Conference. It was a maelstrom of meetings, talks, seminars, concerts, ceremonies, a visit to “the Hill,” dinners and breakfasts. All of them were of interest. Sleep was purely optional, as the midnight smooze lasted well into the night. This was by far the best way to be come acquainted with League alumni and get their take on orchestras, large and small throughout America. The atmosphere was always collegial and underscored by an optimistic (but not always) urgency about the state of the “classical” musical profession in the US. Whether it was, an Executive Director, a Board President, Musical Director or a musician, the sense was that we must be innovative in our approaches to the future of symphonic music. Some of the approaches are iconoclastic, others build on traditions of community service and still others take advantage of the proximity of other cultural institutions to form partnerships. Around the country, orchestras are trying new ideas to insure that the profession continues to evolve, lest we become an increasingly stultified art form.

Well, back to Aspen. Back the chance meetings afforded by such an amazing array of talent. The temptation is to name drop! Never in all my years as a performer have I had such a close relationship with conductors and soloists. My relationship to music is changing, there is a great satisfaction in knowing that I am behind the scenes making music happen in another way. Not that I don’t want to jump in at times… my fingers itching to play!

But, as the narrator says to the hapless soldier, in Stravinsky’s “L’Histoire du Soldat” “un bonheur est tout le bonheur, deux c’est plus qu’il en faut.” (One happiness is all that you get, two is more than is necessary.)

Soon to be back, lots more to write about…. More concerts and an interesting symposium on the challenges to music education and its place in the future of symphony orchestras.

Day of Music

Last week the AMFS' second annual Day of Music took place. I was ultimately responsible for the entire day, including operations, scheduling, marketing, and other logistical issues. A vision of David Zinman's, this day was initiated last year as an opportunity for both the School to showcase its daily activities and the Aspen community to see more of the process leading up to musical events.

Here were some of my specific jobs:

Operations:
- Coordinate the dress rehearsals (and others if need be) for the Juilliard Centennial Salute Concert the evening of July 12 (This was a daunting task because it involved about 30 busy players playing 10 pieces.)
- Complete the Production and Stage Plot Forms for the Juilliard Concert.
- Solicit and schedule various student and faculty ensembles to open their rehearsals and coachings, or give informal performances
- Create a production schedule for the Day at each of the 4 venues (Castle Creek Campus, Aspen High School, Benedict Music Tent, and Harris Hall)
- Work with stage and audio crew to cover logistics of each event
- Coordinate with Diane Stine “Music Ambassadors” to generously help with the Day (guide people, hand out flyers, etc.)

Marketing/Public Relations:
- Design with Heather St. George (marketing) both a flyer and detailed schedule of the Day
- Maintain communication with Janice Szabo (public relations) and Jeremy Simon (publications) about added (and changed) events of the day
- Engage in interviews with the local television station and 3 local radio stations to promote the Day (under Janice Szabo’s guidance and scheduling)
- Work with Debbie Barnekow to advertise to different communities
- Work with Diane Stine to advertise to area hotels
- Design and produce signage for the Day

Artistic:
- Fulfill David Zinman’s vision (under Asadour Santourian’s guidance)
- Organize events together with Asadour Santourian

I learned so much from putting this Day together. If I had the chance to do it again, I would want to look into more sponsorship opportunities, more venues in town (churches, etc.), and to spend more time increasing the accessibility of all our events – focusing on the younger to middle-aged generation of residents who do not typically go to concerts.

The AMFS staff was so helpful and wonderful to work with. Also, my predecessor, Jeff Tsai, had much foresight and thoughtfully outlined the duties of the Day for whomever was assigned the task this year. Thank you Jeff! I hope I can offer the same to my successor.

Back to my orchestra manager role now!

Friend or Foe?

As an orchestra manager of an all student orchestra (Sinfonia) at the Aspen Music Festival and School, it's been a challenge to find the right balance between being a helpful resource and a looming authority figure. A few students curiously ask, "So...are you a musician?" Well, I have a B. M. in flute performance from the San Francisco Conservatory of Music. Then the next question is almost always, "do you still play?" and my answer is yes, but not as much as I'd like to. When the students realize that my musical training is similar to theirs, they begin to feel a connection. However, the fact that I don't play as much and now hold what seems to be a position of power over musicians creates an invisible yet existent divide between us.

When I take the time to explain my background and current Fellowship training opportunities, both students and faculty musicians show interest and even reveal their own ventures into the administrative side of music. Having played in orchestras, I know and can articulate what musicians need and expect from staff. Those kinds of one-on-one conversations have resulted in favorable working relationships based on empathy.

On the other hand, having such friends in the orchestra also presents some difficulties. As much as I want to maintain their trust and friendship, there are times when I have to say "no" and enforce policies like NO FOOD OR DRINK ONSTAGE. Many have tried to sweet-talk their way out of their orchestra commitment, followed up by phone calls from teachers and moms. The role of an effective manager definitely requires objectivity, accessibility, and connectivity.

In the end, I guess the Sinfonia students will decide for themselves whether I am their Friend or Foe.

"So, do you play piano??"

I can't tell you how many times I've been asked this question in the short time I've been here at Aspen. Most students assume that since I'm not carrying an instrument case, my backpack must contain piano music.

"Well, yes, I do play piano, and my major in college was flute, but that's not why I'm here." (I get many confused looks with this response.)

"So what are you doing here??"

"I'm managing the American Academy of Conducting at Aspen (AACA) Orchestra this summer."

"What?!?"

It's amazing to me the number of people who don't know/understand the concept of orchestra management. I most willingly explain and answer questions to anyone asking. Honestly, I don't blame them for not knowing - I, too, had no idea of what orchestra management really was, and simply took for granted always being able to play an orchestra rehearsal or concert at the drop of a hat. Only when I went to college did I become intrigued and fascinated with the management side of music, thus leading me to where I am today.

So, the question still remains: what do I do as the AACA Orchestra Manager? Many of the key nuts and bolts of the festival orchestras were put in place prior to our arrival. However, let me provide you with two categories of what I do here at Aspen: one category of orchestra manager duties (many of which my fellow Fellows also encounter with their respective orchestras), and one of my manager duties specific to the AACA Orchestra.

Orchestra Manager duties:

• act as personnel manager by keeping attendance records and securing subs/extras as needed
• gather concert seating assignments from faculty, and post as rosters for students
• provide weekly schedules for the orchestra
• create rehearsal orders for concert rehearsals
• work with the library for all music needs
• work with the tech crew to make certain all rooms are set up for each service
• work with the stage crew to make certain the stage is set for the dress rehearsal and concert
• work with the artist services department to coordinate a guest's schedule with the orchestra they are working with
• work with the program staff to create weekly printed programs
• oversee the entire concert production, putting out any last-minute fires (I forgot my tie!)
• other duties as assigned (like co-managing the 4th of July band with Marc!)

AACA Orchestra Manager duties:

• arrange score studies, technique checks, and video review sessions for the conductors
• gather repertoire reading seating assignments from faculty, and post as rosters for students
• create rehearsal orders for the repertoire reading sessions
• create weekly schedules for the conductors of all the other orchestras' rehearsals/concerts that they need to attend
• work with Maestro David Zinman and Maestro Murry Sidlin to determine the repertoire for the repertoire reading and technique check sessions
• work with Maestro Zinman and Maestro Sidlin to determine which conductors will conduct a certain piece or movement for concerts and repertoire reading sessions
• keep a running record of each conductors podium time, as well as the number of pieces each has conducted

In a nutshell, that's what I manage weekly in Aspen (with the help of Beth Boleyn, a second-year AACA Assistant Manager – a wonderful resource to have here!). My work with AACA is challenging, yet incredibly rewarding. I'm surrounded by a group of wonderful musicians and conductors, and being able to manage all of these details seamlessly so-as each colleague can focus solely on playing or conducting, who in turn collectively presents a wonderful concert for the audience, is quite a reward.

As I just finished hearing Dvořák's 9th Symphony in our second concert this summer, I'm reminded how great it is to be here each day. There's always wonderful music anywhere I turn, and stepping outside of the music to view the snow-capped mountains reminds me of the absolute beauty of nature. Managing the AACA orchestra is a fabulous experience, and I'm thrilled to be starting this yearlong journey here in Aspen.

I guess I will start us off. Welcome everyone to the 2006 Fellows Blog! We will do our best to follow Jeff's precedent.

All five of us will be making entries, which will hopefully offer more perspectives and insight to what it is that we do all year. What has struck me most about this class is that although we share the same passion for music and orchestras (we all have music degrees), we each find and express that passion in our own way. Our individual ideas and approaches vary greatly, which results in very interesting dinner conversations.

To date, we have attended the League's National Conference in Washington, DC and finished the first official week of the Aspen Music Festival and School. I think we all feel that it has already been an incredibly intense experience. We have advocated for orchestras, met many people, received wonderful guidance, and discovered what it is like to be an orchestra manager at Aspen for the summer.

I am currently manager of the Aspen Concert Orchestra, which generally consists of students between the ages of 16 and 25. I hope they don't read this and feel offended, but I love calling them my "kids." It is very rewarding to help make possible their music-making experience. The students are also teaching me things I still didn't know about various instruments (the ones I don't know how to play) and even orchestra stage plots. I am sure there is still much more for me to learn. Our first concert is Thursday, and I am very much looking forward to it.

Now that I have broken the ice, I will let my colleagues add their voices.

Thank you for reading.