New music proponents are uniquely qualified to stop worrying about the Major Symphony Orchestra in favor of much more productive—and yes, more American—channels.
There’s a belief among musicians that there is a cabal of jazz writers, reporters, and critics who influence, undermine, and control jazz musicians. As someone who has had the tremendous privilege of working as a jazz writer, reporter, radio station music/program director, documentarian, and essayist for 25 years, I can honestly say that no such cabal exists.
There will always be some new music I will never cover and sometimes I feel conflicted about this but there is only so much time. And even if I were able to produce words for everything that passes my way, there would then be a fair amount of neutral or negative criticism, which I think would do a disservice.
In this new and somewhat turbulent era for classical music, our own personal success isn’t just about us anymore. The old model is no longer relevant because simply having a job or being a superstar doesn’t necessarily contribute to our communities or to our art.
The Affordable Care Act made maternity coverage more accessible for freelance musicians. But is contemporary music—its career arcs, social scenes, traditions, and infrastructure—ready for a baby boom?
You want to grow your audience, but you have limited resources, so you target your marketing efforts at the groups most likely to respond to it. Sounds familiar? Sensible? It is. But almost everybody does it wrong.
It is my hope that no one—especially young musicians—should ever face the shame and the self-questioning that poverty could force on them. Music, and more importantly access to music and music education, is vital to all communities.
I believe that artists, more so than scientists or the religious, carry the seeds of miracle works inside them. And I believe we are seriously underperforming.
The milieu of new music has splintered into factions, each with its own loyal but marginal audience. All of these groups believe that they have meaningful formulas for creating provocative work, but what good is that work if no one outside the communities where it is generated has access to it?
Conductor Susanna Malkki leading the Chicago Symphony felt like a massively successful non-event. A woman was on the podium, and everything seemed to be in order. But while Malkki is unquestionably a master, she is also, statistically, a unicorn.