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Getting a Feel for Fees

Thursday, February 2nd, 2012

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:

  1. Before you enter into a conversation about fees, figure out what your expenses relating to the performance will be and  how much you would ideally like to make on top of that. It is also good to check the capacity of the theatre they use and their typical ticket price for a concert such as yours. This information should be accessible on the internet. Keep in mind that in addition to your fee, the presenter will have a range of costs, including the hall and expenses related to advertising and marketing the event. During the negotiation, you might have occasion to refer to this information, if you consent to a lower fee and want to give a reason, such as sensitivity to the size of their venue.
  2. If at all possible, ask the presenter to tell you how much they have in mind, based on their budget. There is always the possibility that they will offer an amount higher than what you would have suggested.
  3. Most presenters know that any number you quote them can potentially be negotiated downward.  (They learned that from managers who always try to get the best fee for their artists!) Therefore, leave “wiggle room” in your negotiation by starting a little higher than the amount  that would have satisfied you. You can say: “Typically, my fee has been x, and I hope that will be possible for you.”
  4. If you end up with a fee that is quite a bit lower than what you had hoped for but you feel you have to accept it to save the date, you might want to ask if the presenter is in a position to provide housing or ground transportation (including  travel from and to the airport). Many organizations have volunteers who are happy to help with this. You might also ask if they have any suggestions of other presenters in the area (far enough away not to compete with them for ticket sales) who might potentially be interested in having you as well. If the conversation has gone really well and you feel that the presenter finds you very accommodating and reasonable, you might want to say that if they are happy with your performance and intend to engage you again in the future, you hope that the fee you have accepted will not set a precedent for the next negotiation.

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

 

 

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You Don’t Know Me, But…

Thursday, January 19th, 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

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Is There a Network of House Concerts?

Thursday, December 15th, 2011

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I have been told by many of my musician friends that it is very gratifying and helpful to perform in house concerts because they allow for direct communication with a small and appreciative audience and an opportunity to play through repertoire in an unpressured environment. In some instances, they might even put a little money in your pocket. Can you tell me how I might go about identifying such opportunities? Is there any central house concert website? —Andrew K., violinist

Dear Andrew:

While it is true that house concerts take place all over the world, I am not aware of any directory that lists them. This may well be because of the need to maintain privacy and ensure security when opening one’s home to the public. There is an informative website, ConcertsinYourHome.com, which does provide its members with information about hosts of house concerts, enabling them to get in touch directly, but it is my impression that the opportunities are for singer-songwriters and folk music performers, not classical. They do offer a free and helpful “House Concerts Guide”, written by their founder, Fran Snyder, which walks the reader through all aspects of performing in or presenting a house concert. Most of what they cover is universal to any genre of music.

A good place for you to start would be to ask your musician friends whether they can introduce you to the individuals who have hosted their concerts. Perhaps you can also encourage them to program a work in their upcoming concerts that might include you. If you are still a student, you should visit your school’s concert office to see if they have a list of hosts. You could also check with the Development office, as they often coordinate private concerts for current or potential donors. Let them know of your interest in participating in them. Set aside some time to think about possible concert hosts among family friends, fans, or people you may have met in a variety of professional or social situations. Violinist Hilary Hahn was able to secure a substantial amount of the funding for her commissioning project that is generating twenty-seven new encore pieces via a house concert hosted by someone she happened upon by chance.

In New York, where I live, there are a wide variety of house concerts taking place regularly.  Some of them, such as the series at the home of Shirley and Sid Singer, have been going on for as long as twenty years and generally feature up and coming soloists and chamber ensembles who are recommended by managers or returning by popular demand. Others, such as chamber music concerts hosted by Dr. Daniel Kuhn, a cellist and psychiatrist by profession, are motivated by the host’s desire to play great music with artists they admire. A third category would be concerts for the benefit of a designated charity, such as Classical Action’s Michael Palm Series, which typically feature artists of some renown. None of these would be easy for you to penetrate. However, Michael Reingold, Producer of NYC House Concerts for the past six years, works with a variety of hosts in presenting 25-30 concerts per year. Some of the artists are his own choices outright but others approach him by e-mail, and he tries to introduce new faces into the mix. His particular motivation is to introduce his friends and their friends to the beauties of classical music. He also is happy to afford artists the opportunity to try out a new program and to gain experience in communicating verbally and socially with audiences that are new to this music.  Neither he nor the artist(s) receive any financial gain but if the host is in agreement, the artists can put a basket at the door for voluntary donations, and they can always feel comfortable selling cd’s. If you live in New York, you should definitely acquaint yourself with this organization.

Perhaps the most entrepreneurial individual I have met in regard to pursuing house concerts (and more) is pianist and composer, Kimball Gallagher. A graduate of Rice University and Juilliard, he is the founder of PIANOKEY, “a salon concert company that is dedicated to the revival of the romantic salon culture”. He is currently in the midst of “The 88 Concert Tour”, which he organized totally on his own and which has recently included performances throughout the U.S., as well as in Shanghai, Taipei, Mongolia, Hanoi, Bangkok, Tunisia, Turkey and Afghanistan. Each concert host receives a short personalized piano work that he writes for them, using a compositional system to spell out musical notes to match their names, and which is included as part of the program.  Mr. Gallagher receives a fee for these concerts which, added to income from private teaching, allows him to make a reasonable living. He does not conceive of the concerts as preparation for more significant events but rather as events in themselves. He connects with his audiences in interesting and innovative ways that wouldn’t be possible in a larger venue; for example, playing a virtuosic Chopin etude at a slower tempo before performing it as it was intended to be heard. His success at international networking is quite spectacular, and yet it breaks down into small, logical steps that follow from one another. He keeps track of every new contact he meets and has the charm and confidence to ask them to help, If he believes they can. When he has needed to fill out a tour in Asia, he has contacted Juilliard to see which alumni might be residing there. There is much to learn from Mr. Gallagher’s intrepid approach to organizing his own concert life. The fundamental answer to your question is: Don’t look for a network of house concerts. Research them as best you can but in the end, don’t hesitate to create one!

To ask a question, please write Ask Edna.

© Edna Landau 2011

This is the final “Ask Edna” column of 2011. I wish all our readers a very happy holiday season and look forward to reconnecting with you on January 5, 2012!

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Playing for Free

Thursday, November 17th, 2011

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am in my last year of an undergraduate program at a conservatory in the U.S. where I have formed a string quartet with fellow students. We have only been playing together for less than a year but we have hopes to stay together after graduation. Meanwhile, our biggest challenge is to find places to perform. There are churches and even one or two art galleries in the area where we believe we could give concerts but we would not receive a fee. This doesn’t particularly bother us but we have been advised that we should never play for free. Do you agree with this approach?—Michael B.

Dear Michael:

While I understand that whoever advised you wanted to ensure that your group would not be taken for granted, it is common for ensembles who are just starting out to occasionally play for free in order to build up a fan base and gain performing experience. Performing for a public that is not familiar with you, as opposed to school where the audience is composed of friends and teachers, is a valuable and essential experience. You have to give a little extra to connect with such an audience and their reaction will be true and unbiased. These types of concerts provide important opportunities to run through repertoire that you wish to polish and maybe even perform at a competition. Whenever you play a free concert, be sure to ask the venue whether they have a mailing list to whom they might send an announcement of your concert.  You will also want to have a sign in book somewhere near the entrance that encourages members of the audience to join your mailing list by submitting their e-mail address. Should you wish to encourage voluntary donations, you can put a basket and sign next to the book. You might also want to put a sentence in your program to the effect that you are grateful to each member of the audience for coming and should they wish to support your group with a voluntary donation, it would be greatly appreciated. You might accompany this with an invitation to come backstage to meet all of you following the concert. The key point is that playing a free concert doesn’t seem like an imposition when it affords you opportunities to get the name of your quartet known and maybe even to generate some publicity. The venue that is hosting you may have some connections to the press and might be able to get some advance coverage of your upcoming appearance. While this type of performance is unlikely to be reviewed, it is possible that you or the venue know some bloggers who write about arts events and would be willing to come and share their reactions on their blog. If the venue is willing to allow you to make a video of your concert, and assuming you can do so without undertaking a major financial commitment, this could be a real plus, especially if you are lacking any exposure on YouTube. Finally, be sure to take the time to invite any people who might prove useful to you in the future and who will spread the word in the arts community about your group and its potential for a promising future. Once you consider all of these possible benefits to be gained from one concert, playing for free doesn’t seem at all like a compromise.

I would love to have YOUR question! Please write Ask Edna.

© Edna Landau 2011

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Getting In Front of Presenters

Thursday, October 27th, 2011

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am a flutist, a soloist and chamber musician.  I am just getting started pursuing performances, after many years playing in an established ensemble.  I have a nice website with good audio and video tracks, but I have found that if I can get a presenter to see me live, it is much more likely to lead to a gig than just sending my materials.  I have been applying to showcase at regional presenter conferences, with only a little bit of success so far.  I was wondering if there are smaller showcasing opportunities. I know of only three:  Ohio (OAPN), North Carolina (NC ArtsMarket) and Pennsylvania (Pennsylvania Presenters). Are there other state-wide organizations that host showcases for touring purposes? Is there a list somewhere of showcase opportunities? My thought is that starting small might be more successful in the long run. Thank you. —Zara

Dear Zara:

My thanks go to you for sending such an interesting question and presenting it so articulately. You are clearly already well informed with regard to this topic. In researching it further, I turned to one of my former colleagues at IMG Artists, Thia Knowlton, who told me about Tennessee Presenters, a consortium that hosts a conference along with ArtsConversation in the off years of North Carolina’s Arts Market, which includes some showcases.  My own Internet explorations did not yield a list of showcase opportunities outside the regional ones with which you are already familiar.  However I learned about numerous arts consortia that I didn’t know exist, in states such as Maine, Montana, Louisiana, Florida, Kentucky and Wyoming. Some research on your part might reveal whether they include showcases in their meetings. Some useful websites I discovered include South Arts, North Carolina Presenters and Pennsylvania Performing Arts on Tour.  There are some organizations that specifically offer showcase opportunities to artists interested in working with young audiences. One such organization is International Performing Arts for Youth (IPAY), which has an annual conference that includes showcases. The North Shore Center for the Performing Arts in Skokie, Illinois, hosts SHOWCASE, an event designed to bring performers for young audiences to presenters’ attention.

My research on this topic also extended in a different direction. I have long admired the chamber ensemble, Fifth House, which has done excellent work in building new audiences in and around Chicago and working creatively both from the point of view of programs and chosen performance venues. I spoke with their pianist and Artistic Director, Adam Marks, who suggested an alternate approach to showcases. He agreed with your statement about the effectiveness of getting presenters to see a group perform live but felt that an informal concert in a community venue , or even a “salon concert” in a beautiful home, might provide a more meaningful experience for a presenter than the staged, carefully planned showcase for a homogeneous audience whom an artist may never get to meet, since they are often rushing off to another showcase after the performance. Furthermore, as he put it, “it can be more valuable to give a presenter a glimpse of how you interact with an audience than to put on a show for them.”  He suggested looking for opportunities to perform in cities where you are trying to target and cultivate presenters who might take an interest in you. Often you are on tour and passing through places where you may not have an engagement but where you’d love to come to the attention of local presenters. There are libraries who will pay a modest fee to present serious artists and that fee might be enough to at least cover your expenses. Once you have secured that opportunity, you can invite presenters to see you in a real-life concert, engaging with an audience similar to theirs. Of course, there is no guarantee that they will come but if your website is appealing and informative, your program is interesting and your approach to them is heartfelt and well written, your chances will be enhanced.  I think there is a lot of value in this approach. When I speak to students, I encourage them to look at every place they travel to, for any reason, as an opportunity to make new contacts and build future audiences.  When one thinks about things this way, almost everything becomes a showcase opportunity and one is not forced to depend on organized conferences and presenter meetings.

I would love to have YOUR question! Please write Ask Edna.

© Edna Landau 2011

 

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Choosing the Right Moment

Thursday, September 8th, 2011

by Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

As it is now late August and booking season is heading our way, I was wondering when you think is the best time to catch orchestra executive directors. I will be sending out materials through regular mail and e-mail. If I move too soon, they will be on vacation and have a lot to sort through when they return. If I’m too late, they may have already started the decision making process and my name most certainly won’t make it on the list! When is the best time to reach out? —A Violinist

Dear violinist:

It is difficult to pinpoint the exact time that any orchestra makes decisions about guest artists. In truth, it is an evolving process that might begin about eighteen months before the start of a season and continue until six months before the start of the season. It all depends on the size of the orchestra and when they traditionally announce their season. I admire your industriousness but hope you realize that the number of orchestras who will respond to unsolicited letters and promotional materials is rather small. Make sure that whatever you send clearly highlights something that might be of interest to them (perhaps a premiere or rarely performed work of genuine substance or appeal). Assuming that you are writing to mid-size or smaller orchestras, from now until Thanksgiving is an ideal time to be in touch. If the orchestra has an artistic administrator, you would do well to write to them instead of the executive director, as chances are a bit better that they will take note of your approach to them. Good luck!

*******

I am grateful to my longtime friend and colleague, Ed Yim, former president and current board member of the American Music Center and Artistic Consultant to the New York Philharmonic, for his assistance in preparing my response to the following question.

Dear Edna:

I am a composer whose career is beginning to take off. I was fortunate last year to win a number of prizes and I have been receiving commissions. I also have signed with a very fine publisher who is eager to promote my work. Recently, I was contacted by a manager who is interested in representing me. I would appreciate your advice on whether a composer needs both a publisher and a manager. Thank you so much. —A Curious Composer

Dear Curious Composer:

Thank you for writing in with a question that I am sure will be of interest to other composers. It is wonderful  that you are already in a position to be represented by a fine publisher. Congratulations, too, on having won a number of prizes and already secured some commissions. It sounds like things are going very well for you. At the present time, I don’t think you need to have a manager. Part of your publisher’s job is to investigate possible new commissions and to promote your published works, hopefully leading to increased performances of them. There may come a time in the future when, if your career has grown exponentially, you might want to hire a publicist or manager to call attention to certain works or projects you have undertaken. They would also be an added ally to help monitor your publisher’s effectiveness on your behalf. In general, most composers don’t have managers unless they have their own performing ensembles (for example, Steve Reich) or are active as performers in some other way (e.g., John Adams as conductor).  Those performance activities generate an income stream that makes them more attractive to managers. Another raison-d’être for a manager’s or publicist’s involvement would be if the composer was undertaking substantial projects, such as extended residencies, or was the focus of major retrospectives. I hope that your current partnership with your publisher brings significant new opportunities your way and that whenever the occasion arises, you find time to share your experiences and mentor some younger colleagues. Composers’ careers develop differently from those of singers, conductors and instrumentalists, and they are always grateful to receive advice and encouragement from someone such as yourself.

To ask a question, please write Ask Edna.

© Edna Landau 2011

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Legal Smarts

Thursday, August 25th, 2011

By Edna Landau

To ask a question, please write Ask Edna.

The answers below were prepared with the kind assistance of my good friend and distinguished colleague, attorney Brian Goldstein of FTM Arts Law, to whom I express my heartfelt thanks.

Dear Edna:

I love reading your blog and I had a question that I hope I am not repeating. I am an international student currently studying in the states. I am interested in publishing a cd with cdbaby.com but I am not sure whether it is legal for me to receive money from cd baby from sales while I am a student here. If not, are there any other options for me? Thank you so much for your time. —–Kit

Dear Kit:

Thank you for submitting an excellent question. Visa regulations are in general quite complex and, like most legal issues, depend on an analysis of your specific circumstances. Therefore, it is almost always advisable to seek personal legal advice when trying to understand them.  As a general rule, U.S. law requires an artist to have a visa with work authorization any time an artist performs in the U.S.—even if the artist performs for free or is paid outside of the U.S. The mere act of “performing” triggers the need for work authorization. As a result, performances are almost never permissible on a visitor visa which, by its very nature, contains no work authorization. While recording a live performance in front of an audience would clearly be illegal without work authorization, it’s unclear as to whether or not a recording made in a studio would constitute a “performance”. Regardless, a visa with work authorization is also required any time anyone sells goods in the U.S.  In your case, you have not indicated your current visa status in the U.S. but for the purposes of this blog, we will assume that you are here on an F (student) visa. While F visas do not inherently permit students to perform in the U.S., the student’s school can authorize such work. It may be possible for you to make and sell a recording here if you obtain work authorization from your school to engage in such an activity and it is related to your studies. If your school will not provide you with work authorization, you could still make and distribute a studio recording for promotional purposes, but not sell it. Please note that if you are here on a J (exchange) visa or other type of student visa, different rules may apply as it is up to your sponsoring organization to approve your activities. You might want to approach Volunteer Lawyers for the Arts with your question. They have a legal hotline to field a broad range of questions, Art Law Line, which is fielded five days a week. You can also look at www.artistsfromabroad.org or have a look at the visa information on FTM Art Law’s website, www.FTMArtsLaw-pc.com.

                                                                                        ********

Dear Edna:

My fellow students and I are often asked to sign consent forms. Sometimes we are told that the wording is very standard and that we have nothing to worry about. Usually these forms are presented to us at the last minute and we end up signing them because it seems like less trouble that way. Those of us who do not speak English as a first language find the legal jargon intimidating and confusing but we don’t want to admit to not understanding it. I was recently handed a release that, if signed, would have granted my consent to the “absolute and irrevocable right and permission to use my name and likeness to reproduce, edit, exhibit, project, display, copyright and publish the moving pictures and/or videotaped images of me with or without my voice and to circulate the same in all forms of a particular filmed show and/or any other lawful purpose whatsoever.” I was also asked to waive any compensation for such consent. I did not sign this release but there is still a negotiation going on. I am wondering: is there such a thing as a standard consent form that would be less one-sided and would give us more control?  —concerned musician

Dear concerned musician:

If there were such a thing as a standard consent form, the world of the performing artist would be a simpler place. In fact, all terms are negotiable. Just because someone tells you a specific form or contract is “standard” does not mean you have to agree.  I understand the emotions you have experienced when someone gave you a form to sign at the eleventh hour and you felt pressured, especially if you thought that the future release of your filmed or recorded performance might have a major impact on your career. However, you should never feel pressured or compelled to sign any agreement or form and you should never grant any right to another party unless you understand everything about how those rights will be used and are comfortable with the terms. If necessary, any future usage can be subject to a separate agreement to be negotiated at a later time. You are always entitled to ask questions. You are also entitled to take the time you need to seek legal advice and you should, either from a personal attorney to whom you have access or via an organization such as Volunteer Lawyers for the Arts (see above). Ultimately, whether it’s an engagement contract, a recording deal, or a consent form, if you want terms that are less one-sided and would give you more control, you are entitled to propose different terms. The words “absolute and irrevocable right and permission” are scary because they would give someone the right to use your name, images, and a recording of your performance for any purpose and at any time in the future, without having to seek your permission or pay you any fees. Your name, image, and recordings have value. Even if you may not be receiving compensation for your performance (by prior agreement), your name and likeness could have significant value as your career grows. The time to take control of this type of situation is right at the start, at the first mention of possible audio or video recording of your interview or performance. If you were not informed that camera crews or recording engineers might film or record your rehearsal, performance or participation in an extended event, such as a festival, you shouldn’t hesitate to speak up and question such an occurrence at first glimpse of a camera or recording microphone. In fact, unless you specifically object, your consent could be implied. You mention that you did not yet sign the release and that there is still a negotiation going on. That may not be enough  to protect you. In any situation where someone presents you with a contract or form, even if you do not sign it, if you proceed with the performance and do not specifically reject the terms you find objectionable or specifically clarify, in writing, which terms are still under negotiation, you may be legally bound by the contract. Oral or implied consent can also be legally binding. A contract need not necessarily be signed.

I hope this information will make you feel more secure and in control when situations like this present themselves in the future.

To ask a question, please write Ask Edna.

© Edna Landau 2011

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Time Out for Time Management

Thursday, June 30th, 2011

By Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I have thoroughly enjoyed reading your blog. The wealth of information you have to offer is inspiring, encouraging and exciting.

While studying at USC, days, weeks and terms were structured around the immediate demands and deadlines of academic and musical requirements. Preparations for outside competitions and performances, trips home for family time, and summer music festivals filled out the time. As I worked within this structure, I also put a lot of effort into things like developing a contact list, learning how to use a website for publicity, creating programs that sell and teaching myself how to prepare a press packet. Mostly, though, my focus was on my product: making music. Now, out of school and without an agent, I’m faced with an overwhelming amount of logistical and technical tasks that devour my time and energy. I know I’m not as efficient as I could be. Taking time to post updates and keep in touch with my fans often means I don’t practice enough. Do you have any suggestions on how to manage the artistic vs. the logistical parts of one’s career without an agent? –Hunter Noack

Dear Hunter:

Thank you for your lovely comments on my blog. Your question is an excellent one and is probably shared by many more of our readers.

It seems to me that time management is a universal challenge, especially in these fast-paced times when it is easy to be engulfed by e-mails and an array of social media. Most people are up against some type of deadlines in their daily life but creative artists, who make their living in the public arena and who are expected to maintain the very high level of performance to which their public has become accustomed, find themselves subject to even greater pressure. From all I have read, and from my own experience, the answer seems to lie in breaking down masses of looming tasks into manageable bits and once they have been prioritized, employing rigorous self-discipline in monitoring one’s progress with dispatching them on a daily basis.

Apart from attending to one’s physical and mental health and family responsibilities, a musician’s first priority must be to lock in enough practice time. If you are a morning person and can start your day that way, you run less of a risk of being distracted by electronic messages that might quickly swallow up hours of your time. You will also benefit from a sense of accomplishment that will enhance your efficiency in tackling the remaining tasks of the day. Those tasks will have ideally been itemized by you in advance in whatever form of calendar system works best for you. Mark McCormack, the legendary chairman of my long time employer, IMG, had a lined yellow pad with his “To Do” list on his desk every time I met with him.  A surprising number of people I know, young and older (myself included), still prefer such a lined yellow pad or notebook. We are never “listless” and we enjoy the satisfaction that comes with crossing out items on the pad. We start each day reviewing our intended plan and at the end of each day, whatever didn’t get done goes on the next day’s list. Many of us also keep a separate list for longer-term goals which we review once or twice a week. Angela Myles Beeching, in her valuable book Beyond Talent which devotes a substantial section to time and financial management, writes about “backward planning” for larger projects. She suggests starting with the date of an upcoming event, such as a performance, and working backwards to establish “benchmark deadlines”. This entails breaking down the overall work that needs to be done into manageable pieces with their own deadlines. So, for example, you establish deadlines for memorizing the works, running the program through in advance, sending invitations to your contacts, etc. I use a Week-at-a-Glance calendar and find it helpful to assign my longer-term goals to specific days so that they pop up when that day rolls around and when I know they can no longer be postponed. A colleague of mine told me that she separates out such objectives by keeping memos with different titles in her Blackberry and updating and adding to them as needed. These types of systems help greatly to reduce stress and make the overall volume of tasks requiring attention seem less overwhelming.

In my opinion, the most important aspect of effective time management is maintaining control of each and every day. Just because someone sent you an e-mail or Facebook message doesn’t mean you have to answer them right away. Try to set aside a consistent time each day to attend to these communications or, if necessary, every other day. You can certainly glance quickly at your messages once or twice a day to make sure you aren’t missing something important but otherwise, don’t allow them to distract you. I find it helpful to mark as “unread” e-mail messages that I know require time and attention that I don’t currently have. I make sure to return to them within a day or two. It is also helpful to print or file attachments that you know you will find informative but that don’t need to be read immediately. They make for great airplane reading! Try to set aside a specific block of time each week for tasks such as website maintenance, Facebook postings (that aren’t time sensitive), updating your contact list, sending out event invitations and uploading videos on YouTube. Of course, we haven’t mentioned phone calls. (Does anyone make them any more?!). Phone calls that you might initiate in an attempt to secure new opportunities for yourself could be added to this weekly block of time, as long as it occurs during business hours. Responding to business-related calls initiated by others should obviously happen in as timely a fashion as possible. If you are unsuccessful in reaching someone, put reminders to try again on your daily “To Do” list.

Clearly, there is no single time management system that works for everyone. I encourage you to speak with your friends and fellow musicians to see what works for them. I also hope that our readers will write in with specific tips and approaches that they have found effective. We can all benefit from that as I have yet to meet a person who is overly well-organized!

To ask a question, please write Ask Edna.

© Edna Landau 2011

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An Alternative to Traditional Management

Thursday, May 19th, 2011

by Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am a professional classical guitarist that has turned to other styles of music, as well as played shows with dancers. I have been concertizing over the past twelve years. I have been fortunate to get great reviews from major newspapers and standing ovations from large audiences in most of my recent concerts. I have a promoter but have been seeking a larger management over the last two years, with no success. They all told me they are afraid to add one more guitarist to their roster on top of the one they have. I honestly believe I have a lot to offer a manager in terms of getting booked and don’t know how to make them interested in taking me on. Do you have any advice for me?   —Frustrated But Still Inspired

Dear Edna:

I am a pianist with some concerts lined up but I would like to have some help with contacting more orchestras and presenters. I have seen some artists who have a ‘personal representative’ (sometimes the representative works for only one artist, or just a few artists), and I thought that would work well for me. The question is how to find someone who is interested in doing the work, has some knowledge and background in music, and can handle the bookings well. I was thinking about contacting a local arts council but I’m not so sure about that. If you have any ideas as to where I should look, can you please share them with me?   –Trying To Be Resourceful

Dear Searching Artists:

I wish I knew the perfect answer for everyone who writes to me seeking professional management. Clearly there are more artists inquiring than there are managers to go around. While it is important to be confident in your abilities and persistent in your efforts to find a solution, it is also important to recognize that managers have their own agenda. You may believe that “you have a lot to offer a manager in terms of getting booked” but unless you can demonstrate a steady stream of concert income that is likely to continue to grow, it is not likely that they will share your belief. Furthermore, if that income is derived from a large number of concerts for which you tend to be paid small fees, it will necessitate a great deal of servicing work on the part of the manager (contracts, travel, programs, etc.) which they may feel they cannot assume.

In the case of guitar, I can understand that a manager may feel that one guitarist on a roster is enough. However, since you don’t come across as squeamish, you could always make the case that you have general availability and would be happy to pick up whatever dates the other guitarist might not be able to do! Since you also sound enterprising, you might offer to turn over to them research you have done on series around the country that have presented guitarists in the past several years, in exchange for them taking a chance on you. (Managers often don’t have time to do this type of research.)

As I said in my earlier blog post entitled “The Truth About Managers,” it is better to be represented by a smart, healthily aggressive and motivated individual, who loves music, than by a management that has little recognition or, even worse, is not respected. The best salespeople are those who are passionate and very knowledgeable about what it is they are trying to sell, and intelligent and strategic minded about how to target realistic buyers. And now, on to our pianist’s question: how to find them? First and foremost, you must tell everyone you know, both friends and professional contacts, that you are seeking such a person. It would be advisable to get in touch with deans, faculty, and the directors of arts management programs at conservatories  or universities, to see if they have a student who possesses the qualities mentioned above and might be willing to work for you. Musical America lists schools, as well as arts administration degree programs, in the U.S. and Canada. Another good resource is The Association of Arts Administration Educators. There is certainly no harm in trying your local arts council. It is also possible that a parent of young children or a retiree who has training in the arts might welcome the opportunity to have part-time work that they can do from home. If you find a student without any training who otherwise seems very promising, it might be wise for them to inquire about internships at management agencies. That is one of the best ways to acquire the necessary skills. (Be aware, however, that they may be required to receive credit in their school program in order to qualify for such an internship.)

While it may not be absolutely essential, it would be beneficial if your chosen person had knowledge of the repertoire for your instrument, especially in the case of guitar. You would need to set specific goals for them, which might include getting re-engagements for you in places where you were successful in the past, following up on leads you haven’t had time to pursue, and inquiring about possible auditions for conductors. It might make sense to identify certain geographical areas you want to concentrate on, especially if you know that there are presenters in those areas who might be interested in your kind of programming. You will need to be prepared to pay this person a weekly or monthly stipend since you will not be able to offer them commissions on fees which will not be received for a while. However, these payments can later be applied against those commissions. You will also need to incur the expense of providing them with attractive, up to date materials to work with in promoting you (whether print or digital), that capture the essence of what you have to offer a presenter and their audience. High quality recorded samples of your work will also assist them greatly in their efforts. I would advise you to set a date by which your arrangement will be reviewed, such as three to four months. By then you should have some idea of the effectiveness of your representative.

Once you have succeeded in your quest, please be sure to report back on your progress so that others might benefit from your experience. (We’ll call that “Answer Edna,” rather than “Ask Edna!”)

© Edna Landau 2011

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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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