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| OT: Astounded at this musician's tenacity and drive [message #70676] |
Sat, 29 July 2006 17:14  |
Aaron Allen
Messages: 1988
Registered: May 2008
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Senior Member |
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This is just too good not to share with all of you here.=20
I encourage your heartily to explore her website. Be warned, you will =
very likely find immense inspiration there.=20
http://www.evelyn.co.uk/live/hearing_essay.htm
This is just a sampling. Below find her refreshing thoughts in an open =
letter to her professional music peers.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~=
~~~~~~~~~
Dear Colleagues,
My comments here demonstrate my huge concern over what our business is =
actually offering our customers today. As many of you know, I am =
naturally "stubborn" and do not just accept the dismissal of a need when =
there is an urgent requirement for its address in a healthy, open, =
honest and constructive way from ALL quarters of the business and =
beyond.=20
I'll just repeat that:- an urgent need for healthy, open, honest and =
constructive dialogue from all quarters of the business and beyond.
So who are our customers ? While my employer may be the many orchestras =
and other promoters that hire me to perform over 100 performances per =
year, my customer is actually the paying public who come to these venues =
and events to be entertained and stimulated by our artistic endeavours =
and experience the passion which we bring to our specialties. An artist =
without passion is the same as any other employee who is just doing =
their job - the extra effort makes the difference.
I was rehearsing in the wonderful Disney Hall in Los Angeles - the new =
building designed by Frank Geary - and looked up and counted =
approximately 200 fixed lighting features and about 20 moving light =
fixtures - I walked past far more backstage. There is also a fantastic =
sound system built into and especially for the space. I was banned from =
using all of it and was told that "This is a concert Hall and not a =
theatre" and that the logistics of the event in which I was involved =
excluded even the modest audio reinforcement that I and the composer had =
requested. We have all the ingredients right in front of our faces to =
consistently put on great events but at this point I see this part of =
the music business and many of our performances like the ingredients of =
a cocktail sitting in a glass and needing to be shaken or stirred.
So what is the difference? Is it only the monotone costumes which are =
worn, a throwback to 19th century waiter's attire? Or is it that an =
orchestral concert is 'culture' and therefore above the crude wrappings =
of theatre and entertainment ?=20
Brushing aside the arrogance of this assumption I must reply with =
another question:=20
"Why can a questionably talented teenager fill a 50 thousand seat =
stadium with top priced tickets and put on a great show when a hugely =
talented 100 piece orchestra struggles to fill 1 to 2 thousand seat =
venues?"=20
The elitism and refusal to accept that what orchestras are doing now is =
far less relevant to the general public is answered by the old mantra =
"they need to be educated".=20
Perhaps "They" are not the problem.
Similarly, I do not believe that entrenching ourselves in tried, trusted =
and accessible repertoire is the answer. It cannot be denied that the =
composers of these pieces are great composers with many wonderful works =
available to us to experience. It is the only reason why these pieces =
continue to be performed. However, with the advent of the myriads of =
alternative entertainments available to the public why should they want =
to come to hear the same thing time and time again done in exactly the =
same way? We would not expect a contemporary artist to continue to play =
the same repertoire endlessly and continue to make a living yet this is =
exactly what we see the orchestras doing.
There is currently a surging interest in seeing live events, the general =
public is willing to pay to see attractions onstage and to be =
inconvenienced for the pleasure. Yet we see a continued decline in =
attendances at the many classical venues around the world. The argument =
that "the audiences will return when they get rid of the kids" is =
proving to be untrue. Costs and expenses rise relentlessly and in the =
"Cultured" arts these costs are born by long suffering sponsors and =
patrons which is both amazing and testament to the goodwill of the many =
that do. Think what has been spent in time and money to organize fancy =
receptions, after concert dinners, luncheons and suchlike and how that =
money could be spent on improving the event we experience on stage.
How long can this generosity and benevolence be expected to continue?
In the many stages that I visit throughout the world I see varying =
levels of support but labour laws in the USA allows for the insistence =
that any number of crews be allowed to work an event irrespective of =
what is actually required. I travel with my own technician and with one =
sound and lighting technician from a venue can set up and rig my =
increasingly technically demanding performances in one day from scratch. =
This, when contrasted against the nauseatingly labour intensive New York =
venues would appear to be a minor miracle. As an example of this I was =
invited to perform at Carnegie Hall a few years ago and my 20 flight =
cases were removed to the sidewalk from the truck by a crew of 9, a =
second crew then brought the cases the remaining 30 meters to below the =
stage where the venue crew had the right to insist that they exclusively =
build my instruments despite my own technician being present and indeed =
the only person who knew how to assemble the instruments. He could only =
stand watching but was allowed to "point"! The apathy shown to both the =
orchestra and I - who were unable to finish the rehearsal because of the =
crew having to go to dinner - is beyond belief. Be under no =
misunderstanding: while the venue at Carnegie hall is indeed wonderful, =
working there is a trial and some balance is required where each person =
working on an event is justified and knows what we are ALL aiming for as =
a team - to please our customers.
And all the time the sponsors are paying for this.
I have had the good fortune of having led a successful career for over =
21 years. I have performed on many stages throughout the world to Kings, =
Queens and Presidents, the great and the good. I will be the first to =
admit that I have been most fortunate. I can only put my success down to =
MY mantra:=20
"Making a difference".
Putting it another way, if we believe in what we are doing and do our =
best to achieve it we can do no more. This is proven historically with =
motivated individuals succeeding despite the huge odds stacked against =
them. I believe in what I do as does the committed team that I have the =
pleasure of working with. I expect nothing less from the orchestras and =
other performers I visit and work with and this must include the =
assorted managers, agents and backstage folk who are needed to play =
their part. We are all part of the chain. Excellence is required from me =
as a performer on stage. It will be my name in the paper the days after =
the event. I expect, not ask, the same dedication from all members =
involved in the event.=20
I will not sit idly on one side when there is an urgent need to rethink =
what and how we do things. The times have changed from when we could =
rely on a fresh audience turning to our activities in mid-life and the =
business model has changed immeasurably. I do not wish to be performing =
the same pieces in the same way next time I am asked and will not be =
doing the same thing in the same way in 5 years time; we must =
continually reinvent what we do to remain fresh and appealing to our =
customers.
I believe that one of the first things that must be done is to set the =
stage for our audiences. I recently had the pleasure of seeing the Blue =
Man Group in Toronto. From the minute that I walked through the door =
there was a total 'Blue Man experience'. This approach must be =
considered from the orchestras. I feel it is unacceptable and scruffy to =
be able to watch the musicians wandering around on stage practicing the =
pieces they will be performing while the audience is walking in. It =
doesn't happen at the Opera, the Ballet or at the theatre. Even a bar or =
wedding Band doesn't spend the beginnings of their set practicing and =
warming up - how has it become acceptable for an orchestra to do so? =
Players can arrive to warm up on stage but depart once "doors open" =
which I as a soloist need to do - it would be absurd to see any soloist =
warming up on stage whilst the audience is being seated. Setting and =
dressing the stage, presenting the performance appropriately and =
engagingly with performers who appear happy to be there and welcoming to =
the audience are small and totally inexpensive steps which will =
radically change the current orchestral experience.=20
To further expand on possibilities, the increasingly affordable =
technological opportunities available to us all allows a degree of =
audience participation and involvement which was previously unaffordable =
except for special occasions. It is now possible to run a visual =
presentation during a performance which expands the experience to the =
audience. Lighting and sound which I have only briefly touched on so far =
are also options which greatly enhance the experience yet are perceived =
as changing a 'Classical' performance into a Pops show. The direct =
inference being that a Pops show is substandard - who has the audacity =
to suggest that to be true?
I am a performer now because at the age of 12 I saw my school orchestra =
on stage during an assembly which whetted my interest in percussion. I =
was encouraged by my Head-teacher, school teachers, and subject teacher =
to take the opportunity to participate in music-making. I was lucky that =
this universal enthusiasm and vision was prevalent throughout the whole =
school for all subjects. This was an unusual situation and is now =
virtually unheard of after successive governments in the UK, America and =
other countries have continued to cut back on funding for the Arts and =
for education in the Arts. On the rare occasions when a younger audience =
is present we should not be compounding the problem with aloof and =
distant performances. If the performer is not excited by the prospect of =
their performance, how can our audiences be expected to be excited. So, =
our question is: why should an audience come to our concerts?=20
Despite the classical orchestras being perhaps the older of the Arts we =
have not learnt new tricks. The pop world, theatre, dance and the =
graphic and written arts have all reinvented themselves and where =
deserved, thrive. This is also known as evolution.
Is this old dog going to learn new tricks or should it be taken to the =
Vet for that final, kind, last injection ?=20
Every single time someone comes through the doors of our venues it is =
the opportunity to plant a new seed, to inspire . Perhaps they could =
become the next great performer, perhaps the inspired performance they =
see will inspire still further and another great incarnation will occur. =
Perhaps they will feel compelled to donate to the Arts or perhaps they =
may simply and quietly buy a subscription ticket.
Please consider your actions, your inactions and remember to ask, "What =
can I do to make a difference today?"
Evelyn Glennie OBE, June 2006=20
I choose Polesoft Lockspam to fight spam, and you?
http://www.polesoft.com/refer.html
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<DIV><FONT face=3DArial size=3D2><STRONG><U><FONT color=3D#ff0000>This =
is just too=20
good not to share with all of you here.</FONT></U></STRONG> =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><EM>I encourage your heartily to =
explore her=20
website. Be warned, you will very likely find immense inspiration =
there.</EM>=20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><A href=3D"http://www.evelyn.co.uk/live/hearing_essay.htm"><FONT =
face=3DArial=20
size=3D2>http://www.evelyn.co.uk/live/hearing_essay.htm</FONT></A></DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV><FONT face=3DArial size=3D2><EM>This is just a sampling. Below =
find her refreshing thoughts in an open letter to her professional =
music=20
peers.</EM></FONT></DIV>
<DIV><EM><FONT face=3DArial=20
size=3D2> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~=
~~~~~~~~~~~~~~~~~~</FONT></EM></DIV>
<DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><BR>
<P><FONT face=3DArial size=3D2>Dear Colleagues,</FONT></P>
<P><FONT face=3DArial size=3D2>My comments here demonstrate my huge =
concern over=20
what our business is actually offering our customers today. As many of =
you know,=20
I am naturally =93stubborn=94 and do not just accept the dismissal of a =
need when=20
there is an urgent requirement for its address in a healthy, open, =
honest and=20
constructive way from ALL quarters of the business and beyond. =
</FONT></P>
<P><FONT face=3DArial size=3D2>I=92ll just repeat that:- an urgent need =
for healthy,=20
open, honest and constructive dialogue from all quarters of the business =
and=20
beyond.</FONT></P>
<P><FONT face=3DArial size=3D2>So who are our customers ? While my =
employer may be=20
the many orchestras and other promoters that hire me to perform over 100 =
performances per year, my customer is actually the paying public who =
come to=20
these venues and events to be entertained and stimulated by our artistic =
endeavours and experience the passion which we bring to our specialties. =
An=20
artist without passion is the same as any other employee who is just =
doing their=20
job =96 the extra effort makes the difference.</FONT></P>
<P><FONT face=3DArial size=3D2>I was rehearsing in the wonderful Disney =
Hall in Los=20
Angeles =96 the new building designed by Frank Geary =96 and looked up =
and counted=20
approximately 200 fixed lighting features and about 20 moving light =
fixtures - I=20
walked past far more backstage. There is also a fantastic sound system =
built=20
into and especially for the space. I was banned from using all of it and =
was=20
told that =93This is a concert Hall and not a theatre=94 and that the =
logistics of=20
the event in which I was involved excluded even the modest audio =
reinforcement=20
that I and the composer had requested. We have all the ingredients right =
in=20
front of our faces to consistently put on great events but at this point =
I see=20
this part of the music business and many of our performances like the=20
ingredients of a cocktail sitting in a glass and needing to be shaken or =
stirred.</FONT></P>
<P><FONT face=3DArial size=3D2>So what is the difference? Is it only the =
monotone=20
costumes which are worn, a throwback to 19th century waiter=92s attire? =
Or is it=20
that an orchestral concert is =91culture=92 and therefore above the =
crude wrappings=20
of theatre and entertainment ? </FONT></P>
<P><FONT face=3DArial size=3D2>Brushing aside the arrogance of this =
assumption I=20
must reply with another question: </FONT></P>
<P><FONT face=3DArial size=3D2>=93Why can a questionably talented =
teenager fill a 50=20
thousand seat stadium with top priced tickets and put on a great show =
when a=20
hugely talented 100 piece orchestra struggles to fill 1 to 2 thousand =
seat=20
venues?=94 </FONT></P>
<P><FONT face=3DArial size=3D2>The elitism and refusal to accept that =
what=20
orchestras are doing now is far less relevant to the general public is =
answered=20
by the old mantra =93they need to be educated=94. </FONT></P>
<P><FONT face=3DArial size=3D2>Perhaps =93They=94 are not the =
problem.</FONT></P>
<P><FONT face=3DArial size=3D2>Similarly, I do not believe that =
entrenching=20
ourselves in tried, trusted and accessible repertoire is the answer. It =
cannot=20
be denied that the composers of these pieces are great composers with =
many=20
wonderful works available to us to experience. It is the only reason why =
these=20
pieces continue to be performed. However, with the advent of the myriads =
of=20
alternative entertainments available to the public why should they want =
to come=20
to hear the same thing time and time again done in exactly the same way? =
We=20
would not expect a contemporary artist to continue to play the same =
repertoire=20
endlessly and continue to make a living yet this is exactly what we see =
the=20
orchestras doing.</FONT></P>
<P><FONT face=3DArial size=3D2>There is currently a surging interest in =
seeing live=20
events, the general public is willing to pay to see attractions onstage =
and to=20
be inconvenienced for the pleasure. Yet we see a continued decline in=20
attendances at the many classical venues around the world. The argument =
that=20
=93the audiences will return when they get rid of the kids=94 is proving =
to be=20
untrue. Costs and expenses rise relentlessly and in the =93Cultured=94 =
arts these=20
costs are born by long suffering sponsors and patrons which is both =
amazing and=20
testament to the goodwill of the many that do. Think what has been spent =
in time=20
and money to organize fancy receptions, after concert dinners, luncheons =
and=20
suchlike and how that money could be spent on improving the event we =
experience=20
on stage.</FONT></P>
<P><FONT face=3DArial size=3D2>How long can this generosity and =
benevolence be=20
expected to continue?</FONT></P>
<P><FONT face=3DArial size=3D2>In the many stages that I visit =
throughout the world=20
I see varying levels of support but labour laws in the USA allows for =
the=20
insistence that any number of crews be allowed to work an event =
irrespective of=20
what is actually required. I travel with my own technician and with one =
sound=20
and lighting technician from a venue can set up and rig my increasingly=20
technically demanding performances in one day from scratch. This, when=20
contrasted against the nauseatingly labour intensive New York venues =
would=20
appear to be a minor miracle. As an example of this I was invited to =
perform at=20
Carnegie Hall a few years ago and my 20 flight cases were removed to the =
sidewalk from the truck by a crew of 9, a second crew then brought the =
cases the=20
remaining 30 meters to below the stage where the venue crew had the =
right to=20
insist that they exclusively build my instruments despite my own =
technician=20
being present and indeed the only person who knew how to assemble the=20
instruments. He could only stand watching but was allowed to =
=93point=94! The apathy=20
shown to both the orchestra and I - who were unable to finish the =
rehearsal=20
because of the crew having to go to dinner - is beyond belief. Be under =
no=20
misunderstanding: while the venue at Carnegie hall is indeed wonderful, =
working=20
there is a trial and some balance is required where each person working =
on an=20
event is justified and knows what we are ALL aiming for as a team =96 to =
please=20
our customers.</FONT></P>
<P><FONT face=3DArial size=3D2>And all the time the sponsors are paying =
for=20
this.</FONT></P>
<P><FONT face=3DArial size=3D2>I have had the good fortune of having led =
a=20
successful career for over 21 years. I have performed on many stages =
throughout=20
the world to Kings, Queens and Presidents, the great and the good. I =
will be the=20
first to admit that I have been most fortunate. I can only put my =
success down=20
to MY mantra: </FONT></P>
<P><FONT face=3DArial size=3D2>=93Making a difference=94.</FONT></P>
<P><FONT face=3DArial size=3D2>Putting it another way, if we believe in =
what we are=20
doing and do our best to achieve it we can do no more. This is proven=20
historically with motivated individuals succeeding despite the huge odds =
stacked=20
against them. I believe in what I do as does the committed team that I =
have the=20
pleasure of working with. I expect nothing less from the orchestras and =
other=20
performers I visit and work with and this must include the assorted =
managers,=20
agents and backstage folk who are needed to play their part. We are all =
part of=20
the chain. Excellence is required from me as a performer on stage. It =
will be my=20
name in the paper the days after the event. I expect, not ask, the same=20
dedication from all members involved in the event. </FONT></P>
<P><FONT face=3DArial size=3D2>I will not sit idly on one side when =
there is an=20
urgent need to rethink what and how we do things. The times have changed =
from=20
when we could rely on a fresh audience turning to our activities in =
mid-life and=20
the business model has changed immeasurably. I do not wish to be =
performing the=20
same pieces in the same way next time I am asked and will not be doing =
the same=20
thing in the same way in 5 years time; we must continually reinvent what =
we do=20
to remain fresh and appealing to our customers.</FONT></P>
<P><FONT face=3DArial size=3D2>I believe that one of the first things =
that must be=20
done is to set the stage for our audiences. I recently had the pleasure =
of=20
seeing the Blue Man Group in Toronto. From the minute that I walked =
through the=20
door there was a total =91Blue Man experience=92. This approach must be =
considered=20
from the orchestras. I feel it is unacceptable and scruffy to be able to =
watch=20
the musicians wandering around on stage practicing the pieces they will =
be=20
performing while the audience is walking in. It doesn=92t happen at the =
Opera, the=20
Ballet or at the theatre. Even a bar or wedding Band doesn=92t spend the =
beginnings of their set practicing and warming up =96 how has it become =
acceptable=20
for an orchestra to do so? Players can arrive to warm up on stage but =
depart=20
once =93doors open=94 which I as a soloist need to do =96 it would be =
absurd to see=20
any soloist warming up on stage whilst the audience is being seated. =
Setting and=20
dressing the stage, presenting the performance appropriately and =
engagingly with=20
performers who appear happy to be there and welcoming to the audience =
are small=20
and totally inexpensive steps which will radically change the current =
orchestral=20
experience. </FONT></P>
<P><FONT face=3DArial size=3D2>To further expand on possibilities, the =
increasingly=20
affordable technological opportunities available to us all allows a =
degree of=20
audience participation and involvement which was previously unaffordable =
except=20
for special occasions. It is now possible to run a visual presentation =
during a=20
performance which expands the experience to the audience. Lighting and =
sound=20
which I have only briefly touched on so far are also options which =
greatly=20
enhance the experience yet are perceived as changing a 'Classical' =
performance=20
into a Pops show. The direct inference being that a Pops show is =
substandard =96=20
who has the audacity to suggest that to be true?</FONT></P>
<P><FONT face=3DArial size=3D2>I am a performer now because at the age =
of 12 I saw=20
my school orchestra on stage during an assembly which whetted my =
interest in=20
percussion. I was encouraged by my Head-teacher, school teachers, =
and=20
subject teacher to take the opportunity to participate in music-making. =
I was=20
lucky that this universal enthusiasm and vision was prevalent throughout =
the=20
whole school for all subjects. This was an unusual situation and is now=20
virtually unheard of after successive governments in the UK, America and =
other=20
countries have continued to cut back on funding for the Arts and for =
education=20
in the Arts. On the rare occasions when a younger audience is present we =
should=20
not be compounding the problem with aloof and distant performances. If =
the=20
performer is not excited by the prospect of their performance, how can =
our=20
audiences be expected to be excited. So, our question is: why should an =
audience=20
come to our concerts? </FONT></P>
<P><FONT face=3DArial size=3D2>Despite the classical orchestras being =
perhaps the=20
older of the Arts we have not learnt new tricks. The pop world, theatre, =
dance=20
and the graphic and written arts have all reinvented themselves and =
where=20
deserved, thrive. This is also known as evolution.</FONT></P>
<P><FONT face=3DArial size=3D2>Is this old dog going to learn new tricks =
or should=20
it be taken to the Vet for that final, kind, last injection ? =
</FONT></P>
<P><FONT face=3DArial size=3D2>Every single time someone comes through =
the doors of=20
our venues it is the opportunity to plant a new seed, to inspire . =
Perhaps they=20
could become the next great performer, perhaps the inspired performance =
they see=20
will inspire still further and another great incarnation will occur. =
Perhaps=20
they will feel compelled to donate to the Arts or perhaps they may =
simply and=20
quietly buy a subscription ticket.</FONT></P>
<P><FONT face=3DArial size=3D2>Please consider your actions, your =
inactions and=20
remember to ask, =93What can I do to make a difference =
today?=94</FONT></P>
<P><FONT face=3DArial size=3D2>Evelyn Glennie OBE, June 2006 =
</FONT></P></DIV>
<DIV><FONT size=3D2><BR><BR>I choose Polesoft Lockspam to fight spam, =
and=20
you?<BR><A=20
href=3D"http://www.polesoft.com/refer.html">http://www.polesoft.com/refer=
..html</A> </FONT></DIV></BODY ></HTML>
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