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An Experience To Be Missed?

Thursday, April 28th, 2011

by Edna Landau

To ask a question, please write Ask Edna.

The following question comes from an individual whom I had the joy and privilege of representing in the early days of his career. My first exposure to his conducting was with the Haddonfield (New Jersey) Symphony. While I could predict even then that he would go on to great things, the music directorship of the New York Philharmonic and the directorship of conducting and orchestral studies at the Juilliard School were still far-away dreams. I am honored that he has chosen to write to “Ask Edna.”

Dear Edna:

I have enjoyed reading your advice column on musicalamerica.com.

I have a question that I have often been asked by young conductors, and I have a feeling that your insight, experience and thoughtful approach may shed very useful light for many people early in their conducting careers.

Experience in front of orchestras is obviously crucially important for any conductor —is there a level of orchestra below which one should not go just in order to get experience? That is to say, to put it bluntly, when does the experience of conducting a not very accomplished orchestra become worse than not having a chance to conduct at all?  —Alan Gilbert

Dear Alan:

Thanks so much for writing in to my blog. I’m glad you have enjoyed reading it.

I have thought a great deal about your question and I don’t think there is one all-encompassing answer. It depends on the conductor and the stage in his or her career that we are considering.
Conductors obviously differ in one major way from other performing artists: they cannot practice and perfect their craft without a group of musicians in front of them. For some, this process begins at school. The quality of school orchestras can be quite high, sometimes affording the conductor a chance to try things out at a level that may be more advanced than what they would encounter in the field. At the same time, a school environment is somewhat compromised, since fellow students have a predisposition to go the extra mile and to give their very best for one of their own. Some aspiring conductors start their careers without even the benefit of a school orchestra with whom to work. Obviously, for those conductors, working with almost any orchestra is better than not working at all.

There are certain basics of conducting that any young conductor must master and part of that process is trial and error. A certain amount of experience with lower-level orchestras at the start of a career would seem beneficial, if only to gauge the efficacy of certain gestures and to try out different rehearsal techniques. Of course, there can come a point in a rehearsal when a player is consistently late with an entrance and it may be unclear to the conductor whether this is the player’s fault or his own. Even if the conductor is sure it isn’t his or her fault, succeeding in getting the desired outcome will serve him well in future orchestral encounters. Accepting these engagements is also very important because any young conductor has a formidable amount of repertoire to learn and trying it out in less exposed situations is virtually a “must.”

In my experience, it is a relatively small number of conductors who move quickly up the ladder by virtue of word of mouth or who begin their careers working with a fairly high level orchestra. Some might create their own orchestra and gain experience that way. Many others will only attract attention after having demonstrated that they have had significant conducting experience. Their resume will be their primary sales tool and it will need to show some heft. There are conductors who might be able to demonstrate that they have had experience in conducting educational and outreach concerts which could weigh in their favor as they apply for higher positions. I believe that the best approach during the early years is never to lose sight of the higher rungs of the ladder and to do everything possible to reach them, but also, to plant one’s feet firmly on the lower steps, taking in every opportunity to learn along the way.

As conductors advance in their career, the type of experience they need to gain changes. A higher level orchestra will afford them a greater opportunity to explore interpretive nuances and a broader range of color. They will use their rehearsal time differently and make adjustments in how they address the players. If they don’t get the results they are seeking, it may become clearer that they need to re-examine their own technique. During this particular growth period, it would probably be beneficial to limit the number of lower level orchestra engagements, perhaps making exceptions for orchestras who gave them a chance early in their career or who are interested in special projects that are meaningful to the conductor but not yet an option with a more prominent ensemble.

I discussed your question with conductor Jeffrey Kahane, who focused on the human side of it. He said that “working with an amateur orchestra reminds us that amateur music-making is important to our artistic culture.” I believe this takes on heightened significance in a time when we are struggling to build audiences for classical music. He also said that working with a community orchestra, for example, “might not significantly help your career or technique but it will reinforce who you are as a musician and your purpose as a musician.” Anyone who has attended concerts by such orchestras has witnessed the tremendous dedication of the players and their love for music-making, which may not be their primary occupation. Audiences are unfailingly inspired by this and conductors would do well to carry a little of it along with them, wherever their career path may lead.

To ask a question, please write Ask Edna.

© Edna Landau 2011

Posted in Ask Edna, The Orchestral World | Comments Closed

Social Butterfly or Caterpillar?

Thursday, April 21st, 2011

by Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

How important is the social aspect of one’s career—hanging out at receptions, meeting and greeting other artists at concerts (not my own), cultivating potential donors and charming presenters—in contrast to the time one needs to spend alone with the music? I am not the most social person and I find this public aspect enervating and distracting, but think it may be necessary if I am to be on the “inside track.” Please advise! —Not quite a social butterfly

Dear Not quite a social butterfly:

Although there is no denying that building a successful performing career depends on countless hours of musical preparation, it has become virtually impossible to sustain a successful career without recognizing the importance of good will and interpersonal relationships. A manager may get you your first engagement with a given orchestra or concert series. Your chance for a reengagement may well depend not only on how well prepared you were and how well you performed and engaged with the audience but also, what sort of impression you left on the presenter, their staff and even their donors. (See last week’s blog, “The Art of Reengagement.”) A post-concert reception will generally take up no more than an hour of your time (an informal dinner, a bit more). Donors absolutely love to meet the artist personally, to have an opportunity to ask questions, and to get an idea of an artist’s life offstage. It gives them a privileged feeling and makes their contribution all the more meaningful. It also allows them to brag to their friends that they met artist X—something that is seemingly minor, but incalculable in value to them. You don’t need to reveal anything that would make you feel uncomfortable.  A little speech by you thanking the donors, as well as the presenter for inviting you to perform on their prestigious series is certain to melt everyone’s hearts and leave a wonderful memory of your visit in their minds. This becomes all the more important if your concert was a debut with that orchestra or series and if you don’t have a manager.

Regarding meeting and greeting artists at other peoples’ concerts, this is a wonderful way to open new doors or learn about opportunities that could be extremely meaningful to you. Examples might be meeting a composer whose music you might want to commission, or if you are a composer, securing a possible new commission; learning of a new festival, concert series or performance ensemble that is in the process of formation; meeting a conductor or contractor who might be helpful to you; meeting a presenter who might take an interest in you – the possibilities are varied and seemingly endless. And if you’re really lucky, you may get invited to join the artists for a meal after the concert.  Artists love to let their hair down after a concert and enjoy good food, good wine, great jokes and inside-the-industry stories. That kind of bonding gives potential new colleagues a chance to get to know you and become acquainted with what you are doing, leading to future possibilities for collaboration. In such a case, if it is your nature to be shy, put on your best Academy Award-winning performance and join wholeheartedly in the fun. You can always get up an hour earlier tomorrow to be “alone with the music.”

To ask a question, please write Ask Edna.

© Edna Landau 2011

Posted in Ask Edna, Career Etiquette | Comments Closed

The Art of Reengagement

Wednesday, April 13th, 2011

by Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I have greatly enjoyed reading your blog on Musical America’s website and have encouraged students to send in their questions. This time, I have one of my own:  During your artist management career, what were the most common factors or mistakes (within an artist’s control) that caused them NOT to be re-hired for a subsequent engagement?  —Barli  Nugent , Assistant Dean and Director of Chamber Music, The Juilliard School

Dear Barli:

In contemplating your important question, I thought it would be a good idea to respond separately for singers/instrumentalists and conductors.  In the case of the former, the primary reason would probably be the failure of the artist to render an artistically satisfying performance. This could be reflected in several possible ways:  technical sloppiness, unsatisfactory sound projection, absence of a compelling musical statement, or lack of stylistic awareness.  Any of these could be due to a lack of confidence that might stem from the artist performing  repertoire in a highly exposed situation without having had adequate opportunity to try it out beforehand.  If these were not an issue, we might move on to the matter of interpersonal relationships, especially in the case of an orchestral engagement. A vote of no reengagement is certain for an artist who tells an orchestra how to play while the conductor is on the podium, or who speaks disparagingly to the conductor about the orchestra’s performance within earshot of the musicians. Another pitfall to be avoided is a decision to play an encore without first checking with the conductor and with the orchestra manager. Although this may not, on its own, account for a failure to get reengaged, if the encore sends the orchestra into overtime, thereby incurring extra cost for them, their future recollection of the artist might not be all that rosy.

Interpersonal relations offstage are of equal importance.  An artist must appear on time (preferably early) for all rehearsals and for the performance. They should be reachable throughout the engagement and not change hotels without telling anyone.  Most presenters will ask artists to make at least a brief appearance at a post-concert reception. This request will be made in advance of the date of the performance. If an artist refuses for no apparent reason, it could have a bearing on their chances for getting reengaged, especially if the performance was less than stellar. An artist who resists playing in a smaller venue and pushes the presenter to put them in a larger and seemingly more prestigious one, where they end up drawing only half a house, shouldn’t expect a re-invitation any time soon and would be well advised to respect the presenter’s judgment in the future.

In the case of conductors, it goes without saying that someone who delays in sending marked parts (if they elect to do so) and rehearsal orders until long past the deadline, doesn’t start out with the orchestra on the right foot.  The rehearsal period is critical, especially for a young conductor making a first impression. Often, musicans’ impressions of a conductor are indelibly formed during this time and they may not change even if the conductor delivers an effective performance. A frequent criticism is that they talked too much during rehearsals, seemingly because they couldn’t adequately convey their musical goals through their gestures. The objection is exacerbated when the spoken words don’t enhance the musicians’ understanding of what is expected of them or enlighten them in some way about the music they are playing. They may be asked to repeat passages without being told why, leading them to conclude that the repetition was really for the benefit of the conductor who needed another chance to get it right. It should also be mentioned that a conductor who chooses to re-seat the orchestra without prior permission from the music director should not expect to return to that orchestra any time in the near future.

One can never stress often enough that the music business is built on relationships. Artists who endear themselves to presenters are more likely to be invited back. This includes something as basic as treating the presenter’s staff and the venue’s front of stage and backstage crew with respect and warmth, showing appreciation of their efforts.   The icing on the cake is an artist who attends a post-concert reception and tells donors how fortunate they are to have such a special presenter in their community and how their contributions make all the difference in the world. Some artists have been known to send hand-written thank you notes to a presenter following the engagement,  a certain way to stand out from the crowd. An orchestral soloist who acknowledges the orchestra’s excellent performance while taking their bows, clearly understands that their successful performance was a true collaborative effort  — a gesture that does not go unnoticed. I have known some soloists who have even baked cookies for the orchestra. While I personally think that may be going a bit far, if your students do it, my suggestion would be chocolate chocolate chip.

To ask a question, please write Ask Edna.

©Edna Landau 2011

Posted in Ask Edna, Career Etiquette | Comments Closed

Starting Your Own Festival

Wednesday, April 6th, 2011

By Edna Landau

To ask a question, please write Ask Edna.

This week’s question comes from a young violinist at Juilliard whom I had the pleasure of meeting when I was a guest in Bärli Nugent’s class a few weeks ago. I am grateful to Edward Klorman, a founder and co-Artistic Director of the Canandaigua LakeMusic Festival and Director of Manhattan School of Music’s Center for Music Entrepreneurship for sharing his personal experience with me as I prepared the answer below.

Dear Edna: 

I’m a violinist having spent most of my life performing and collaborating, but I’ve hardly done any organizing of my own projects. After working with many different kinds of musicians, dancers, actors and other art-related people throughout the years, I’m beginning to really want to organize my own festival combining them all. I feel that some pretty amazing projects could be created out of their collaborations, and it would be fascinating to experience the way in which all forms of the arts complement one another. I have no clue as to how to start such an epic project – what would be the best way to do so?  —Laura Lutzke 

Dear Laura: 

It is exciting for me every time a young person shows the initiative and desire to launch a new project based on their own artistic experience and observations. I am sure you are right that the festival you envision could be “pretty amazing” and I hope you will not let anything get in the way of your zeal to follow through on it. You seem perfectly positioned to bring to fruition such a multi-genre celebration of the arts. 

I think the most essential thing, when undertaking a substantial new project, is to start with what and who you know. If you plan your new endeavor in a community where you are known, people will be motivated to help you right from the start. Edward Klorman hails from Rochester, New York and his family has spent summers at Canandaigua Lake for many years. That area was therefore a natural location for him to start a festival. His mother, Rhonda Jones, was actually the founding executive director of the festival. He knew his potential audience well and attempted to figure out from the start how he could collaborate with them, drawing on their established interests but also potentially introducing them to new things. It will prove advantageous to you if the area you are identifying seems “hungry” for the type of cultural events you are anticipating and if there are established organizations that are already involved in the genres of performance you hope to promote. Also, be sure to identify a time when you are likely to draw the largest audience. 

Once you have identified your ideal location, be prepared to do a tremendous amount of networking and legwork. One of your first goals will be finding a suitable performance venue that might make space available for free or at low cost. Churches are often good starting points but you also shouldn’t be afraid to think creatively. Edward Klorman and his co-Artistic Director, Amy Barston, launched their very successful Classical Blue Jeans series in a barn. Other festivals have worked collaboratively with vineyards, who have been delighted to have a new cultured audience to introduce to their fine wines. 

At every step along the way, you should never hesitate to ask people for help and advice. People with resources and expertise love the idea of giving something back to a good cause. When Ed Klorman started on his journey, he asked a local piano dealer who they knew that had a piano in their home. He then organized a house concert to float the idea of a festival and to get people excited about it. An enthusiastic audience of about 50 attended. He asked them to leave their contact information and to be sure to tell their friends about plans for a festival ten months later. Within a few months, small gifts totaling close to $15,000 came in. The festival operated at first under the fiscal sponsorship of a local arts council, enabling them to receive contributions. They subsequently decided to apply for non-profit status through a lawyer who volunteered their services. 

Once you have settled on the what, where and when of your festival, you want to call on as many people as possible to get on board. Check out housing options and see if some hotel or bed and breakfast proprietors might be willing to offer some complimentary rooms to festival participants. Perhaps local residents might want to offer private housing. That is a great way for them to feel involved in your venture without having to necessarily spend any money. Visit local vendors to see whether they might offer in-kind sponsorships; for example, free printing of your programs and/or brochure in exchange for acknowledgment in all of your festival promotion. (You might want to throw in some free tickets as an inducement.) You should approach various arts and civic organizations to see if they might send an announcement of your festival to their mailing lists. Be sure to cover all of the genres represented in your programming. Also take the time to visit the local Chamber of Commerce, Tourist Bureau, newspapers and other town publications to get their advance support of your new venture. 

When it is time to settle on artists for the festival, think about a core group that shares your vision and that might potentially want to be involved for the long haul. They don’t need to be world-famous but they should share your excitement over this new project and be very adept at communicating it to your audience. Hopefully, they will be satisfied with low fees at the start, as long as their expenses are covered. 

It goes without saying that the success of any new venture can be largely dependent on public relations. Seek as much help as you can in this area. Make sure that all of your materials are attractive and inviting, with great photos, and that your press releases convey the careful thought that went into your programming and the uniqueness of what you will be offering. While a clever name for your festival is not essential, it might be a small plus in your public relations efforts.

There is so much more to say on this topic but space precludes addressing matters such as programming and fundraising in greater detail. I hope the above paragraphs will give you a basic idea of how to get started. As you move forward, you should seek out people who have started their own festivals and they will all have useful information to offer you. And please remember to put me on your mailing list as soon as you have one! 

To ask a question, please write Ask Edna.

© Edna Landau 2011




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The “je ne sais quoi” of Great Talent

Wednesday, March 30th, 2011

By Edna Landau

To ask a question, please write Ask Edna.

This week, I am deviating slightly from my usual format and answering the one question I have been asked repeatedly throughout my career: How can you tell if someone has the potential to be great? Although there is no response that fits all situations, I hope that the experience related below will reveal some of the answers. 

It is Saturday night, March 26, 2011. I am sitting in a small chair, almost elbow to elbow with the person next to me at New York City’s Metropolitan Room. The place is packed and there is much anticipation in the air. Finally, the lights dim and a highly attractive 26-year old Juilliard-trained soprano in an elegant green gown takes the stage. She lifts the microphone and begins to sing Jerome Kern and Oscar Hammerstein’s “All the Things You Are”. I get the goose bumps during this very first song, always a sign that something special is happening. At the conclusion of the song, she thanks everyone who made her show possible and tells us how lucky she feels to be sharing her favorite music from the Great American Songbook with us. I, in turn, feel lucky to be there. Everything I read in Stephen Holden’s very enthusiastic New York Times review has come to life within a very few minutes. Jennifer Sheehan has won my heart with her gracious, unpretentious welcome and warm, comfortable stage presence. The spell is never broken over the course of the next one and a half hours. 

I ask myself afterwards: How did this happen? How did she totally distract me from my aggravation over the astronomical sum of money I had just committed to paying when I parked my car in a garage across the street? First and foremost, it was her joy in performing, but that wouldn’t have gripped me for long had it not been coupled with a beautifully thought-out program, interspersed with personal vignettes about her career and the meaning that many of the songs held for her. She shared her awe about sitting on the same stage as Audra McDonald and Stephen Sondheim on the day she graduated from Juilliard. (Ms. McDonald gave the commencement address and Mr. Sondheim received an honorary degree.) She then proceeded to sing two Sondheim songs that captured how she felt on that day. A delightful song called “Do You Miss Me” gave Ms. Sheehan the opportunity to share her first experience hearing Andrea Marcovicci as a teenager in her native St. Louis. Little did she know when she purchased Ms. Marcovicci’s cd (which included that song) following the concert that she would later become a significant mentor in her career. She introduced her rendition of “I’ll be Seeing You” by relating how she once performed it in a nursing home for Alzheimer’s patients and midway through the song, heard them humming along and saw some of them reaching for their neighbor’s hand. One got the impression that her various appearances at nursing homes were among her most memorable. None of this sounded calculated or artificial. Ms. Sheehan was subtly transmitting to me why I should care about hearing this music at this particular time. 

It was a long and demanding program. Ninety minutes of singing and talking without a break. Her voice never faltered. Her Juilliard training, combined with an obvious flair for acting and a musical gift that was repeatedly displayed in her perfect intonation and exquisite phrasing, was always in evidence. She coupled disparate songs in unexpected ways, choosing to have us reflect on the timeless beauty of “Some Enchanted Evening” through the lens of Adam Guettel’s “Fable” from “The Light in the Piazza”, which immediately followed. (Adam Guettel is Richard Rodgers’ grandson.) I felt enriched by the introduction to two songs by Susan Werner, whose music I had never heard before. I found myself whooping and cheering along with everyone else at the conclusion of an irresistible and virtuosic “If You Hadn’t But You Did” and wishing that the program wouldn’t come to an end. When it did, Ms. Sheehan barely paused long enough to take a drink of water and immediately dashed out to the venue’s main exit (where her sister was selling cd’s) so that she could be sure to greet her appreciative audience and personally thank them for coming. I was one of the first to add my name to her mailing list. It’s not that I need to receive more e-mails or Facebook invitations. I just want to be sure to know the next time she is performing within 100 miles of my home. 

To ask a question, please write Ask Edna.

© Edna Landau 2011  

Posted in Ask Edna, Communicating with Your Audience | Comments Closed

Here’s My Program—Where Do I Fit?

Wednesday, March 23rd, 2011

by Edna Landau

To ask a question please write Ask Edna.

Dear Edna:

So wonderful of you to take questions!

I run an ensemble called “Ljova and the Kontraband” which primarily performs its own original music. Its sound is informed by the classical, folk, jazz and world music traditions.

Whenever I hear an artist speak about music they’d like to perform or compose, the conversation often touches upon the concept of “genre” in music, and borders between musical genres (classical/jazz/opera/musical theatre, etc.). Artists feel confined and want to tear down these borders to create music that draws on a variety of influences and backgrounds. It seems that presenters have a similar mind. They just want to present that which is good and hope that the audiences will follow. How important is genre to an audience?—Lev Zhurbin

Dear Lev:

Thanks for your insightful and very interesting question.

One of the reasons that artists are so fortunate to be concertizing at this time is that boundaries separating various genres of music are, in fact, less defined than ever before. Presenters know more about their audiences than they did in the past and are more willing to take chances in order to grow those audiences. They are also communicating more personally and directly with them and, consequently, building greater trust that everything they are presenting is compelling and worth hearing, regardless of genre. The icing on the cake is that journalists who have spent a large part of their careers reviewing traditional classical music concerts seem ecstatic about reviewing programs that draw from various musical genres.

That said, I did a rather hasty, informal survey of some long-time concert presenters’ season offerings and found that they still divide their performances into series with the traditional titles you would expect, such as Chamber Series, Jazz Series, Orchestra Series, and the like. I smiled broadly when I saw the University of California Santa Barbara’s “Out of the Box Series”, which offered, among others, Kayhan Kalhor with Brooklyn Rider, and the Ornette Coleman Quartet. Many presenters put such groups on a “Special Events” series. What this underscores for me is that artists can be as adventurous as they like in their performances, “drawing on a variety of influences” (as you have written), but if their music can’t be easily classified and if it doesn’t fall into one of the usual categories, they may be competing with others for very limited spots. Presenters may be eager to widen the spectrum of their offerings but they don’t want to take their audience by surprise if they are expecting traditional fare. (This means that it may take a while before you see your group included on a Chamber Music Series alongside the Pacifica Quartet!). One solution that some have embraced is to list all presentations as single events and give ticket buyers the opportunity to create their own series.

It is inevitable that some concertgoers will not be interested in buying tickets for music with which they are unfamiliar. They might prefer to hear excellent performances of music they already know or which has been written by composers they recognize. To those people, genre is all-important.  For the others, what matters most is the promise of a fresh, entertaining, enlightening (you choose the adjective) experience. If a group or its programming is new to a city, it is probably beneficial for the presenter and the artists (or their manager) to speak in advance about how to advertise the event and communicate directly about it to subscribers, perhaps in the artists’ own words. If they receive such a letter in the months or weeks prior to an event, they are likely to enter the concert hall already feeling a bond with the artists and anticipating how their words will come alive on stage. It might also be beneficial for the artists to offer their own program notes or to consider giving brief introductions to at least some of the works on the program, in lieu of program notes.

In the end, what matters most is the quality of the artists’ performance and their ability to communicate their excitement over the chosen program in an irresistible way. Once that happens, it ensures that audience and presenter alike will share news of their happy and stimulating experience with their friends and colleagues so that, eventually, substantial word of mouth has built up about your group and it hardly matters what genre describes you, or where you fit.

To ask a question please write Ask Edna.

© Edna Landau 2011

Posted in Ask Edna, Publicity and Promotion | Comments Closed

Concert Etiquette

Thursday, March 17th, 2011

by Edna Landau 

Dear Edna:

 I am a violinist in an Artist Diploma program at a conservatory and am currently preparing for some recitals, including my first in my home town. This includes thinking about what I am going to wear. I notice a trend among female violinists to wear strapless gowns and have heard that this is because the sound of the violin projects better when placed against the bare skin. I can’t help but think that they also believe it can’t hurt to look a bit sexy on stage since audiences like that. Is there a danger here of going overboard? —fashion conscious

 Dear fashion conscious:

 There most certainly is a danger of going overboard. Your main concern in a recital should be to display the musical gifts with which you have been endowed. Anything that causes the audience to divert their attention from that dilutes the impact of your performance and affects the memory of it that people carry away with them. Your chosen concert dress should certainly be elegant and show you off at your best. It should also be so comfortable and secure that you never have to think about it while performing. Nothing is more disconcerting than an artist on stage periodically pulling up a falling strap or the bodice of a dress that has slipped a little too low. You should also make sure that you are properly supported by more than your accompanist (!). My good friend and colleague, Monica Felkel, of Young Concert Artists suggests having someone video you beforehand in your concert dress, both playing and bowing. You will immediately be able to judge whether you are revealing more of yourself than you intended. When in doubt, err on the conservative side. You will undoubtedly still look beautiful and people will remember you for your artistry.

********** 

Dear Edna:

As a singer, I am often faced with the dilemma of whether to discourage audiences from clapping between movements of a song cycle. I realize that instrumentalists confront this issue as well but I think that there may be something particular about the mood that is established in a marriage of music and words that is easily shattered by applause after each song, some of which may be rather brief. Needless to say, all artists are grateful for a sign of appreciation from their audience but in this situation, it can be very challenging to sustain the flow of the entire work and not to lose one’s concentration. What do you think is the right thing to do? —D.L.

Dear D.L.:

Much has been written about this topic, ranging from a lively discussion on violinist.com (http://www.violinist.com/discussion/print.cfm?ID=14667) to a revelatory article by Alex Ross, entitled “Why So Serious?“. In that article he describes concerts in the 19th century during which audience members moved about and applause frequently broke out after individual movements, and sometimes even during them. The practice of withholding applause only became widespread in the early 20th century. There are many performers and music enthusiasts today who long for the spontaneity of the 19th century and advocate for easing up the formal concert behavior to which we have become accustomed. This is certainly reflected in the proliferation of alternative concert venues and more informal modes of dress.

My own feeling is that we should try not to alienate audiences by expressing displeasure when they clap between movements of a work, especially if the music reaches such a high level of excitement (for example, after the first movement of the Tchaikovsky Violin Concerto) that it is hard, and perhaps unnatural, to refrain from clapping. We want newcomers to classical music to come back for more and not to sit in fear that they will violate proper protocol. In orchestral circumstances, it might be possible for a conductor to hold off applause at a seemingly inappropriate moment by keeping his or her baton outstretched. However, when you are alone on stage with a pianist and feel strongly that people should refrain from clapping until the end of the work, I believe you have two options: 1) ask the concert presenter to print in the program that the artist would like to present this work as one continuous whole, without interruption, and respectfully requests that any applause be held until after the completion of the final song 2) you choose to speak to the audience just before this work, sharing a welcome insight about it, and then incorporate in your remarks your hope that should they enjoy your performance, they will choose to save up their applause for a hearty ovation at the end. One important note of caution: If you know you are performing for a highly knowledgeable and experienced concertgoing audience, it is better to take your chances and not opt for either of the above choices. You may still want to speak to them but you should avoid the caveat.

Copyright Edna Landau

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To Compete, or Not to Compete: That is the Question

Thursday, March 10th, 2011

by Edna Landau

To ask a question please write Ask Edna.

Dear Edna:

I am a young violinist who has been blessed to have solo opportunities. I was wondering if you think I should also consider competing in more public competitions, such as the Yehudi Menuhin Competition, to further my career goals.

Thank you so much for all you do!     —Eager to Know

Dear Eager to Know:

Your question is an excellent one, and one that doesn’t have a clear-cut answer. I would like to say from the start that this is something you should definitely discuss with your teacher, who knows your playing better than anybody and can give you the most informed opinion.

Competitions come in many shapes and sizes. Whether they might further your career goals depends on what your particular goals are. Every competition provides an opportunity to prepare certain repertoire to a high level and to perform before a jury of established artists and educators, as well as an audience that might contain individuals who some day may be of help to you. What it might offer beyond that depends on the individual competition.

There are many competitions that take place around the world whose winners walk away with a cash prize and perhaps a handful of local engagements, but the news of their accomplishment never radiates beyond that particular area. This could be because the competition doesn’t have a public relations mechanism set up to disseminate the news, or because the prestige of the jury or quality of the prizes is not of sufficient significance to make the results of the competition noteworthy on an international level. Such competitions may nevertheless prove valuable to a soloist or ensemble who wants to have a “competition experience” in order to see how their nerves hold up and to decide whether they want to participate in a more prominent one.

No one should enter a competition seeking greater exposure unless they feel comfortable with the process and motivated by the potential for artistic growth and for gaining valuable performing experience, regardless of the outcome. If that is a description of you, your next step should be to look at the time of the competition vis-à-vis your personal schedule, the required repertoire, the composition and geographical distribution of the jury, and the nature of the prizes. The first two must feel totally comfortable to you. An internationally renowned jury lends a competition greater prestige, which you benefit from if you win a top prize. It is particularly valuable if the top prizes include concert engagements and possibly a recording. Often the Finals afford a welcome opportunity to perform with a first-class orchestra and conductor. The larger competitions make several rounds available to the public on the Internet, thereby providing an excellent opportunity for you to be seen and heard by countless new potential fans.

There is no question that the Yehudi Menuhin Competition is recognized as one of the world’s premier music competitions. If you win a top prize, your public profile will be enhanced by the publicity generated by the competition and you will gain a vehicle for international exposure that you may not have had previously. If you do not win a top prize, there is not likely to be any damage to your career. Everyone knows that a competition performance represents how you played at one moment in time and that such a performance can be influenced by numerous factors.

In my view, competitions are a useful vehicle for getting an artist’s name out to a broader public and a top prize may play a role in helping the artist obtain management. However, that will only be the case if the artist possesses the musical maturity, technical accomplishment, communication skills and individuality that make them compelling, apart from having won the prize. Many such artists have never entered competitions and have built major careers via word of mouth. The wide reach of social media makes it easier today, than ever, to accomplish. Fortunately, the next Menuhin Competition is not until April 2012, so you have some time to sort this out!   

To ask a question please write Ask Edna.

© Edna Landau 2011

Posted in Ask Edna, Managing Your Own Career | Comments Closed

Would Beethoven Have Given Up His Copyright?

Thursday, March 3rd, 2011

by Edna Landau

The following column was prepared with the kind and generous help of a few wonderful friends and colleagues whom I would like to thank and acknowledge: composers Derek Bermel, Jennifer Higdon and Alex Shapiro; Kristin Lancino, Vice President, G. Schirmer, Inc., and Mary Madigan, President, Madigan New Music.

The excellent question below was submitted by Steve Danyew, an accomplished and entrepreneurial composer, as well as the editor of the new Polyphonic on Campus section of Eastman School of Music’s widely read Polyphonic.org.

Dear Edna:

As a young composer, I’m wrestling with the decision of whether to pursue publication of my works through a reputable publisher or to continue to self publish. I’m leaning towards pursuing a publisher because of the distribution and marketing reach that many publishers have. As a self-published composer, it seems difficult to reach all the ensemble directors and musicians who may be interested in my music. At the same time, I’m not entirely sure where to start when thinking about publishers – which organizations would be the right fit, if this is the right point in my career, etc.     –Steve Danyew

Dear Steve:

I understand from the composers I have been speaking to that hardly a day goes by that they are not asked the very question you have posed. Not unlike young performers hoping to attract a manager, chances are that a composer in the early stages of their career will find it difficult to attract interest from a “reputable publisher.” Much will depend on the quality and volume of their work, record of past performances, and opportunities to hear their music in concert. Recommendations to the publisher from respected colleagues can also have great impact. Until such a time is reached, composers are advised to learn all the skills of self-publishing, as you seem to have ably done.

The next big question is, if you can succeed in attracting a reputable publisher, can you agree to the terms of the proposed agreement which typically include ceding control of your copyright and sharing revenues from sales, rentals, performances, and other uses of your music? Presumably you would only want to do this if you felt that you got a great deal in return. In addition to editing and preparation of score and parts, managing and negotiating agreements relating to the copyright and processing all orders, this could include substantial marketing and promotion and a targeted strategy to introduce your music to a well-established (possibly international) network of contacts, potentially enhancing your chances for new commissions. There is no doubt than an association with a major music publisher also carries with it a certain amount of prestige that can have incalculable effects on your career.

Do bear in mind that as with almost everything in life, nothing is absolutely black and white. Most deals have the potential for negotiation, especially if you are at a point in your career where you have some leverage. Some composers have succeeded in working out co-publishing agreements where the publisher may assume only some of the responsibilities mentioned above and the composer may retain partial ownership of (and greater revenue from) the copyright. Others have retained ownership of their copyright and passed along some activities to an independent entity such as Bill Holab Music, “publishing agents” for an impressive group of composers.

In choosing the right fit, it makes sense to study the catalogues of individual publishers to see if they include the type of music you compose and whether you admire, and maybe even know, the composers who are represented. This allows you to inquire what type of experience they have had. You might also want to get a feeling for whether the focus of the publisher’s activity is domestic or international. You will certainly want to research the level of music organizations with whom they regularly do business; check whether they are staffed adequately to provide the marketing and promotional support, as well as individual attention, you are seeking; find out whether they meet regularly with their clients and travel to key performances and premieres, and who would be your primary and regular contact. It is important to feel a good chemistry with that person and to sense that you would be a priority for them, not unlike a good artist/manager relationship.

In making a final decision, you need to weigh the benefits and financial realities of a publishing relationship against the time spent on maintaining total control of your business and growing it to higher levels. I suggest you speak to as many composers as possible about their personal experiences. In the end, the answer may lie somewhere in the middle.

© Edna Landau 2011

Posted in Ask Edna, Managing Your Own Career | Comments Closed

Breaking Through the Wall

Thursday, February 24th, 2011

by Edna Landau

Dear Edna (wise sage of the management world):

I was hoping you could give me a little insight into manager best practices. It increasingly feels like orchestras want to deal solely with big management. The more I look at the season lineups, the more it seems they look to only one or two management firms to populate their seasons. As an independent manager trying to make waves for my artists, how does one break through the wall?  —I Just Can’t Get Through

Dear Edna:

I have worked with various rather prestigious organizations in the music field but am relatively new to artist management. Throughout those years, I gained access to a broad range of programming contacts and I’ve done well to maintain those relationships.  However, North America is a large territory. The League of American Orchestras indicates that there are about 1,800 orchestras in the U.S., about 400 of which are professional orchestras. Add to this chamber music series, performing arts centers, ensembles, opera companies, festivals, etc., and it’s a lot, to say the least. Obviously, having a targeted strategy is crucial for making headway but how can an artist’s representative get through to organizations and programmers where she has no established contact?   —Indie Artist Rep

Dear I Just Can’t Get Through and Indie Artist Rep:

There are very few questions that are more difficult to answer than the one you have posed. This is because the artist management business is a very personal one and each case is different. In the commercial world, if one spends a significant amount of money on mounting a well-planned advertising campaign for a product that is likely to appeal to a targeted market, there is a reasonable chance that such a product will break through and establish a place for itself among competitive brands. In the world of the arts, decisions are made by conductors and presenters who often already know whom they want to present and if they are willing to make room for new talent, they may depend on favorable reports from people they respect and be influenced by a “buzz” that may have already built up in the media.

You may find this shocking but the size of the management attempting to secure a booking for an as-yet-unknown artist will not in and of itself be a determining factor in a successful outcome. What it is really all about is strategy. The work begins long before the e-mail is sent or the phone call is made. You must be able to answer the following questions satisfactorily:

    1) Why should presenter X be interested in this particular artist? (The answer might revolve around recent major career recognition for the artist or some unusual repertoire they are offering.)

    2) Does Presenter X normally present this type/level of artist?

    3) Is there enough going on in this artist’s career at the present time to help the presenter sell tickets?

    4) Who might be willing to speak to Presenter X about this artist in advance of my approaching him? Or, alternatively, who can Presenter X call (whose opinion he will trust) to verify what you are saying in your sales pitch?

    5) What added value might the artist you are proposing bring to the presenter and his series (for example, educational activities at no additional charge)?

Once you have addressed these issues and have identified a realistic target list of presenters, you are ready to make your pitch. (Don’t be daunted by the number of presenters cited by the League. Many will be irrelevant to your specific project.) There is no denying that it is difficult to get people on the phone if they don’t know you. If someone you and they know can alert them in advance that you will be calling, that will undoubtedly help. If not, send them a concise, substantive and compelling e-mail, indicating that you will follow up by phone and are hoping that they will give you just five minutes of their time. If in your e-mail you make an impassioned case for the uniqueness of the artist in question and support it with suggestions of people to speak to, you stand a chance of capturing their attention. If you are able to see them in person (promising in advance not to take more than fifteen minutes of their time), your chances are even more greatly enhanced.

A manager colleague of mine whom I hold in high regard, Marianne Sciolino, is relatively new to the business (six years). When I asked her recently how she has succeeded in breaking through, she offered some very sensible advice:

    Make sure you present your artists in an impressive way, including excellent photographs.

    Use every opportunity to network. People you know can introduce you to others you don’t know. Every time you travel for any reason, try to meet presenters in that area. If they know you are visiting for a limited time, they will be more inclined to try and see you.

    When you leave a message on someone’s phone, speak in a pleasant, low-key way that makes you sound like someone with whom they would want to work.

And now a final word from the “wise sage of the management world”: Progress in arts management happens gradually, in very small steps. You can only assess that progress when you look back to where you were six months ago, a year ago. And there is one essential ingredient you must never lose: your excitement over working hand in hand with highly gifted artists and helping others to discover those potential great stars of tomorrow.

© Edna Landau 2011

Posted in Arts Administration, Ask Edna | Comments Closed

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