By James Jorden
Revelation comes in the strangest places. Like, for example, I had this eventual moment of clarity about what it was that went wrong in the Lepage Ring, and what do you think sparked it?
Of all things, last night’s performance of Ernani at the Met. (more…)
By: Edna Landau
To ask a question, please write Ask Edna.
Dear Edna:
I am a pianist, seeking to obtain performance opportunities without a manager. Can you please give me some guidance with regard to negotiating a fee? How can I tell what is reasonable and within the budget of the organization in question? How much of a range should there be, depending on venue? I want to find the right balance between coming across as expensive and underselling myself. Is there a way to do any research on this? —K.G.
Dear K. G.,
Addressing your last question first, I know of no way to research fees paid by a majority of presenters. The easiest situations to research are the more informal venues, such as libraries and clubs. In the case of clubs, the artist will often receive a percentage of the amount taken in at the door. Further details can be obtained by simply calling the venue and asking for their standard arrangement. In the case of more formal concert series, you might want to see if the presenter has engaged anyone you know in recent years and, if so, you might contact that person to see if they will reveal what they were paid and what they know about the range of fees in general. Even if you succeed in getting this information, the fee that a presenter will pay an artist may vary from performer to performer, depending on the level of their career, how much exposure they have had, and how confident the presenter feels about selling tickets to their concert. If you find yourself talking to a presenter without the benefit of any advance information, here are some tips to keep in mind:
Typically, community venues such as libraries and churches, will have a much smaller budget than established recital series. It might be somewhere between $300 and $1000. Established series might offer a young artist somewhere between $1000 and $3000. If you have little performing experience to point to, be prepared for the fee to be at the low end of that range. Orchestras might offer slightly higher fees and may present you in multiple concerts (typically two or three). Some orchestras will offer a per performance fee and others will offer a discounted fee for the repeat concerts. So if your single concert fee is $3000, they might offer $4500 for two and $5500 for three. The latter arrangement is most usual.
It is not easy for individuals to negotiate on their own behalf but if you bear in mind that you are delivering value to the presenter and their audience, and you feel confident in what you have to offer, the experience will become much more comfortable within a relatively short period of time. Your display of understanding, flexibility and sensitivity to the presenter’s needs will put you on a strong footing for reengagements in the future, as they will undoubtedly walk away from the discussion feeling that you are pleasant to work with before you have even entered their concert hall.
To ask a question, please write Ask Edna.
© Edna Landau 2012
by James Conlon
Gore Vidal once observed that at a certain age writers turn to politics or alcohol. I am a musician and am turning to neither, but in recent years have found, conversely, an increasing satisfaction through writing. For that reason I welcomed the invitation from MusicalAmerica.com to write a blog on a somewhat regular basis.
The title “A Rich Possession” is taken from a translation of the epitaph on Franz Schubert’s grave: The art of music here entombed a rich possession, but even fairer hopes.
I have enjoyed the privilege of a life of making music, which, in the end, is its own reward. The most precious aspect is that of living on a daily basis in close proximity to a great artistic, spiritual and intellectual force. Classical music is a Rich Possession.
But there is a problem, and I think those of us who love classical music and live in the United States need to see it with greater clarity.
Probably no other country (at least not yet) can boast as many great symphony orchestras, opera companies and conservatories. We are training and producing a stunningly high level of young musicians. The paradox: every arts institution I know is struggling to keep and develop its audience. The arts might need to be repackaged, but without compromising the quality and essence of the inherited art form of which we are the custodians. How and why we have come to have more supply than demand, and what I hope we can do about it, will occupy a significant portion of my future writings.
Will our great country recognize again the necessity of a prominent place for the Classical Arts? How did we allow things to get to this point, and how can we fix it? We are proprietors of a very rich possession…and fairer hopes. Will we know how to maintain the former, and realize the latter? The status of classical music—of all of the classical arts—will not be enhanced without the determined efforts and thoughtful advocacy of those who treasure it most.
By: Edna Landau
To ask a question, please write Ask Edna.
I was recently honored to be asked to participate on a panel at the annual Astral Artists auditions, during which I listened to a substantial number of pianists and wind players. While all were on a rather high level, I was struck by the relatively small number who grabbed my attention right from the start of the audition and sustained it all the way through. It got me thinking about a three letter word, not often mentioned, that for me constitutes an essential ingredient of successful performance, whether on stage or in the workplace: JOY. While it is indisputable that beloved artists such as Itzhak Perlman and Yo-Yo Ma have earned their place as musical legends first and foremost by virtue of their extraordinary artistry, I am convinced that their joy in music making has been an essential ingredient in making them household names. It is palpable from the very first notes that they play. I believe that this element of performance is rarely addressed in the practice room, where the majority of attention may be focused on the mechanics of playing. Can joy be taught? Probably not, but I do think that all teachers can encourage their students to identify and perform repertoire that brings out the best in them and in which they feel they have something special to say. For works that are relatively unfamiliar, the artist should be encouraged to share with their audience some spoken comments regarding why they chose to program the work, thereby increasing the potential receptivity to it from their listeners. Joy in performance may result from confidence that a program has been well prepared, and from the artist’s belief that it offers works or interpretations that might be new to an audience or juxtaposed in an interesting way. The artist might pause, almost imperceptibly, before a phrase that they find particularly special, just as a storyteller would do, thereby sharing that moment more meaningfully with the audience. It seems to me that our most treasured artists are those who give us the impression that there is nothing they would rather be doing than performing for us. While a healthy schedule of performances is essential to a successful career, a concert should never be a means to advance to the next rung on the career ladder. It is a special moment in time, and the opportunity to communicate with a live audience should be savored.
And what about the workplace? In my twenty-three years as Managing Director of IMG Artists, I interviewed many job applicants and often made a positive decision after the first few minutes. A good number of people that I hired still work at IMG after ten years or more, and they have all advanced through the ranks to higher levels of responsibility and more distinguished titles. Their excitement about working at a dynamic and distinguished international agency was visible to me from the start, and it quickly became apparent that the pleasure they took in their work overshadowed any eagerness they may have felt to advance in their career. The promotions came naturally because they were great team players, galvanizing everyone around them with their enthusiasm and joy in having a job that allowed them to be surrounded by great performers and inspiring colleagues. This created a family atmosphere throughout the years, despite substantial growth in the size of the artist roster and number of employees, which I think was a key element in the company’s success.
Beethoven’s Ninth Symphony may be the most beloved work in the classical music literature, uplifting all who hear it with the final movement’s magnificent setting of Friedrich Schiller’s Ode to Joy. Our lives will undoubtedly be richer and more meaningful if we can compose, and actually live, our own personal ode to joy.
To ask a question, please write Ask Edna.
© Edna Landau 2012
By: Edna Landau
To ask a question, please write Ask Edna.
Dear Edna:
I’m an artist sending out letters of inquiry to a handful of presenters. Can you give me an example of an inquiry letter you might send, as an artist, to a concert series or presenter when proposing a concert? —Kimball Gallagher
Dear Kimball:
In a time when the DIY approach is increasingly the way to go, especially for young artists, I commend you for plunging in and seeking engagements on your own. While nobody really knows how many presenters actually read unsolicited letters from artists, some I have talked to indicate that they might at least read the first paragraph, and if the letter is well-written and compelling, they will finish it. They might even listen to a little bit of an accompanying demo cd. It is therefore critical that your letter is concise and to the point. Your letter can demonstrate your awareness of the presenter’s typical series offerings and how you think you might fit into their artistic planning. If you have a particular repertoire strength that is somewhat unusual or can offer a new work that you commissioned, that should certainly be highlighted. You might also want to mention your interest in doing outreach activities, if applicable. While each situation might call for a specifically tailored approach, here is an example of what might prove effective:
Dear Ms. Caldwell:
In a time when recital series seem to be dwindling in number, it is a pleasure to see the commitment you continue to make to solo artists and to introducing your audiences to musicians whom they might not yet know. I am a pianist and graduate of Juilliard who seeks to offer somewhat unusual programs and enjoys engaging with audiences before or after a concert.
In the 2013-14 season, which marks the 100th anniversary of the birth of Benjamin Britten, I will be offering a program which will include his Five Waltzes, Opus 3, as well as other works related to dance, from a Bach suite to tangos by Astor Piazzolla. I have enclosed a sample of a recent cd and hope that despite your very busy schedule, you might have time to listen to at least a little of it. Also enclosed are sample programs from some recent concerts, my bio, review quotes, and a brief description of some educational and community activities I have offered to presenters.
I will call you in a few weeks to see if it might be possible for us to work together. With much appreciation for your consideration,
Sincerely,
My informal survey of presenters has not revealed a clear preference for receiving this sort of letter by traditional mail or by e-mail, with a downloadable music sample. However, several I spoke to did admit that e-mails have a way of getting overlooked in the hubbub of a given day and that they sometimes like to listen to demo cd’s en route to or from work. At the bottom of the letter, be sure to include links to your website or to YouTube, but take care to ensure that any video clips are recent and good quality. Good luck!
To ask a question, please write Ask Edna.
© Edna Landau 2012
by Edna Landau
To ask a question, please write Ask Edna.
Dear Edna:
I am a well-established soloist who has always booked and promoted myself. Once I reached middle age, I made numerous efforts to find an agent who can do for me what I’ve done for myself, only with more savvy and sophistication. But I’ve found that the most desirable agents are closed to people in my age group, and that typically they do not do promotional work. I’ve also learned that publicists don’t book engagements. It seems to me that one-stop booking and promo would make sense for everyone and that such dual-service entities would be the answer to many artists’ needs. Are there no hybrid agent/publicists out there who perform both tasks? —-curious soloist
Dear curious soloist:
Your question is a very interesting one. It seems logical that managers who spend their entire working day seeking performance opportunities for their artists would be equally adept at pitching stories about them to the media and helping to develop their image and profile. One would also imagine that their complete familiarity with their artists’ careers would enhance their pitches to the press. In truth, the skills involved in fulfilling these responsibilities are different and both campaigns rely on a well-developed network of contacts that is built over many years. There is no overlap between these two networks. As a result, there are very few agencies that offer their artists both services. I am aware of Kirshbaum, Demler and Associates and Dworkin and Company in the U.S., and Konzertdirektion Schmid and PR2Classic in Germany. (All management agencies do employ staff to send out publicity materials to presenters who have engaged their artists and to field requests for interviews and radio/television appearances which may come into the management.) In the case of the four agencies mentioned above, artists pay separately for public relations. Not all of the artists on the roster avail themselves of these services, except in the case of Dworkin and Company, whose list is rather small. This is probably a good thing since the principals of those companies would probably burn out in no time from the potential stress of fulfilling both roles. It should also be mentioned that not all artists require an ongoing targeted publicity effort to be made on their behalf, in particular the younger ones. Those that do usually have high profile careers with fairly regular newsworthy developments that justify their paying extra for public relations assistance. In your case, it sounds as though you should continue to handle your booking arrangements or find a suitable partner, while seeking out a publicist for key projects such as commissions and recordings. Many publicists will accept such project work. You will pay a fee instead of a monthly retainer and will probably come out ahead of the game financially.
To ask a question, please write Ask Edna.
©Edna Landau 2012
by Edna Landau
To ask a question, please write Ask Edna.
Dear Edna:
I am a composer, recently graduated with two Masters degrees, and I have chosen the administrative route for a small and ambitious organization. In your earlier column entitled “Overqualified and Underemployed”, you rightly wrote that many connections can be made working in an administrative position in the field of music. The downside is that (especially in this economy) many administrative jobs are 50+ hours a week, plus additional hours for commuting. The result is little time and energy for pursuing one’s musical craft during the week (and family members have their own ideas about your weekend time). Here’s my question: One disconcerting thing I have heard from multiple sources is that an administrator (I’m an executive director) is not taken seriously as a “real” musician; the implication being that if one is REALLY talented, one wouldn’t need to take a day job. Is this a reality? Not counting academia, are there musicians/composers with good reputations as both? –CS Rusnak
Dear CS Rusnak:
While I am not totally surprised to hear that numerous people have questioned the seriousness of a musician’s commitment and level of accomplishment if they hold a day job, it does seem peculiar both from the point of view of today’s economy and the number of established and renowned musicians who do both, with great distinction. In the case of younger musicians, it should come as no surprise that opportunities don’t always present themselves right out of school and that composers, in particular, who rely on commissions, might need to supplement their income in other ways. My colleague, Kristin Lancino, who is Vice President at G. Schirmer Inc. in New York, tells me that there are four people in her office who work full-time and who are active composers or performers/conductors. If one looks at higher profile administrative positions, one finds Ed Harsh, President and CEO of New Music, USA, himself a composer, and Laura Kaminsky, Artistic Director of Symphony Space in New York, who received a prestigious Koussevitzky Music Foundation-Library of Congress award to write her recently premiered piano concerto for Ursula Oppens. Undoubtedly, these arts administrators find that their day jobs lend an extra dimension to their creative lives, removing them from the potential isolation of a composer’s daily existence and immersing them in the heart of the performing world. Their interaction with music industry colleagues on a daily basis also serves to increase awareness of their creative output. More importantly, their administrative positions afford them opportunities to build new audiences and to mentor and assist young musicians, while possibly giving them exposure. Composer Missy Mazzoli was Executive Director of MATA, an organization committed to helping young composers. Some of today’s most beloved artists have managed to assume leadership roles in arts administration, achieving all of these goals and more, while maintaining a rigorous performing schedule. A towering example is Placido Domingo, founder of the Operalia Competition, who concurrently juggled General Director positions with both the Kennedy Center and the Los Angeles Opera. Musical America’s 2012 Musicians of the Year, David Finckel and Wu Han, show no sign of reducing their busy solo, duo or chamber music performance schedules, while simultaneously lending their brilliant vision and artistic direction to the Chamber Music Society of Lincoln Center, as well as Music@Menlo, which they founded. Hopefully, these examples prove that if one is a REALLY talented musician, one might still want to take a day job (or two), for the sheer joy of sharing one’s experience with others, expanding opportunities for the next generation of performers, and ensuring that the venues in which they will perform will be run with the vision and openness needed to promote those performers’ increasingly innovative and groundbreaking ideas.
To ask a question, please write Ask Edna.
© Edna Landau 2012
By: Edna Landau
To ask a question, please write Ask Edna.
A few nights ago, I attended a musical evening of sorts—not at Carnegie Hall or Lincoln Center but at Carolines Comedy Club in New York City. Intrigued by the advertisements I heard on radio station WQXR for its Classical Comedy Contest, I bought two tickets, figuring that a lighthearted evening is always welcome. The sizable club was filled to the rafters and the sense of occasion was enhanced by my first glimpse of the judges who included Robert Klein, Deborah Voigt, Peter Schickele and Charles Hamlen. WQXR’s Elliott Forrest, whose idea this was, proved to be a captivating and amusing host and was proud to introduce two members of the late Victor Borge’s family who were in the audience. What followed was a smorgasbord of eight comic acts, all including live music, ranging from a recorder virtuoso playing on five instruments simultaneously to a duo of “cranial percussionists” and a singer, somewhat reminiscent of the great Anna Russell, attempting to sing O Mio Babbino Caro while her pianist kept modulating upwards at regular intervals. The audience loved every minute and the judges even got into the act with their witty reactions. The winner was Igor Lipinski, a gifted pianist who gave a sensitive performance of a Bach fugue while simultaneously reciting the order of a deck of cards which had been shuffled and was visible to the audience, but not to him. My own personal favorite was Gabor Vosteen, the recorder player. With instruments coming out of his mouth and nose simultaneously, he amazed us with perfectly balanced chords and even a section from Mozart’s Eine Kleine Nachtmusik, played both musically and flawlessly. I read on his website that he decided to embark on this type of antic when he wanted to form a recorder ensemble and no one wanted to play with him. He studied recorder at the Hochschule for Music and Theater in Hannover, Germany, but wanted to go beyond playing to making an audience laugh. He attended circus school in Budapest and has training as a mime. As someone who regularly talks to students about finding their own unique path, I was delighted to encounter Mr. Vosteen who was one of eight finalists in this competition that attracted eighty applicants.
This delightful evening got me thinking that fun and joy are words not often associated with musical performances. That is truly a shame. At a recent concert on Halloween at Carnegie’s Zankel Hall, Brooklyn Rider topped off a substantial and thought-provoking program with an encore, their free-fantasy adaptation of Michael Jackson’s “Thriller,” dressed in suitable costumes. It was a pleasure seeing artists taking a risk in a serious concert venue and allowing themselves to let their hair down, to the genuine delight of their audience and seemingly, even the New York Times critic. I am not suggesting that artists should engage in comedy routines as part of serious recitals but there are often moments when a witty comment from the stage or an imaginative encore can go a long way to charming an audience and breaking down the barriers that too often exist between performer and listener. One memorable moment for me was when I first heard Itzhak Perlman introduce a short work by Ferdinand Ries as one of his favorite “Reese’s Pieces.” As much admired for his superb artistry as for his humanity and joyful music making, this universally beloved artist should serve as a reminder that we must be personally engaged with our audiences and not take ourselves quite so seriously.
I would love to have YOUR question! Please write Ask Edna.
© Edna Landau 2011
by James Jorden
“I’ve almost come to the conclusion that this Mr. Hitler isn’t a Christian,” muses merry murderess Abby Brewster early in the first act of Arsenic and Old Lace, and to tell the truth I’m beginning to think I’m almost as far behind the curve as she was. Recent new productions at the Met suggest strongly that Peter Gelb either doesn’t quite know what he’s doing or else, if he does know, has some wildly inappropriate ideas about what music drama is supposed to be. (more…)
by Edna Landau
To ask a question, please write Ask Edna.
Dear Edna:
I am a cellist studying at an American conservatory and I try to read your blog regularly. A few weeks ago, you wrote about proper etiquette for working with a presenter in a case where a member of your ensemble is unable to perform and you wish to use a substitute. Can you please tell me what proper etiquette is in a case when someone like myself has accepted a solo date and then a much more significant one comes along. I have made a commitment to play a concerto with the youth orchestra in my home town, of which I was a member for five years, and I just learned that the conductor of a more prominent professional orchestra, who heard me at a festival last summer, would like to engage me on the same date in the Dvorak concerto. It would be my debut in that particular city. I am thrilled at the prospect of playing the Dvorak with him but how can I go back on my word? —Jeffrey
Dear Jeffrey:
Since orchestral concerts are usually booked at least 12-18 months in advance, it is not uncommon to find oneself in the situation you describe. Some artists delay for quite a while before accepting a not so prestigious date so that they will remain available if something better comes along. I’m not a big supporter of that approach. A little delay is ok but anyone presenting concerts at any level needs to plan ahead and be assured of getting the artists they want. In your particular case, there is a personal relationship that led to the engagement which can potentially make it more difficult to back out, especially if the youth orchestra is proudly advertising an appearance by one of their most prominent alumni. If there has been no advertising or announcement of the season as of yet, it might be easier to back out of the date. You don’t mention whether or not the youth orchestra date has already been contracted. If it has, you are on less secure ground but you still have options. Contracts can be nullified or modified if both parties are willing. A key element in your approach will be to understand the inconvenience you will be causing and to anticipate some displeasure on the other end of the phone. (I strongly urge you to contact the orchestra by phone, not by e-mail.) In explaining the situation, you should be careful to avoid giving the impression that the new offer is much more important to you. Instead, you should say that you have been very much looking forward to appearing as soloist with the youth orchestra, which was an important part of your musical upbringing, but that you feel that this new offer will advance your career in an important way and you are very much hoping to preserve both opportunities. You should ask whether it might be possible to move the date by a week, or to another part of the season. If the date cannot be moved, remaining strategic options will depend somewhat on how imminent the concert is. If your participation has not yet been announced, you can promise the youth orchestra a firm date the following season, and maybe even some kind of free educational activity the next time you will be at home. If it has already been announced, they will incur expenses in the process of informing the public of the change. To show your understanding and appreciation, you can offer to take a reduced fee for the rescheduled engagement. If your request is accepted, it would go a long way if you would write a heartfelt letter to the orchestra, thanking them for their understanding and paying tribute to them for having provided you with valuable training and musical growth that led to this wonderful opportunity. You will want to assure them that you are not a person who easily goes back on their word but that you know how genuinely the audience in your home town wants you to succeed and you hope they will be generous with their support and understanding. In announcing your cancellation or the postponement of your performance, the orchestra might wish to quote from your letter and make the audience feel invested in this important step forward in your career. If you are successful in orchestrating this scenario, your concern and diplomacy will be remembered and much admired.
Your questions are important to me and can be about anything! Please write Ask Edna.
© Edna Landau 2011
