Why Media?

Sep 11 2006
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Brad Buckley
Brad Buckley

Bradford Buckley has been the contrabassoonist with the Saint Louis Symphony since 1968. Besides playing concerts, touring and recording with the Saint Louis Symphony, Buckley has lectured on the performance practice of the contrabassoon at the International Double Reed Society, and recorded with Greg Hennegar, contrabassoonist of the Boston Symphony, the Six Red Hot Duets for 2 Contrabassoons by noted American composer Donald Erb.

Mr. Buckley is the bassoon instructor at Washington University in St. Louis. He has served as Chairman of the International Conference of Symphony Opera and Ballet musicians (ICSOM), Chairman of the ICSOM media committee, Vice President of Local 2-197 AFM in St. Louis, and as Co-chair of the National Endowment of the Arts orchestra panel. He is currently Chairman of the St. Louis Symphony Musicians Council.

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The days when orchestral Institutions and the musicians they employed could make substantial income from recording are gone, along with the recording companies that provided that income. We need to identify and quantify what “value” is, and how we can derive value from audio recording. After all, if audio recording does not bring value, then why should we do it?

I believe that audio recording does bring value, and three types of value come to my mind: artistic value, monetary value, and indirect value. I’m sure there must be other kinds of value. Can we identify other types of value? Is one type more important than another?

About the author

Brad Buckley
Brad Buckley

Bradford Buckley has been the contrabassoonist with the Saint Louis Symphony since 1968. Besides playing concerts, touring and recording with the Saint Louis Symphony, Buckley has lectured on the performance practice of the contrabassoon at the International Double Reed Society, and recorded with Greg Hennegar, contrabassoonist of the Boston Symphony, the Six Red Hot Duets for 2 Contrabassoons by noted American composer Donald Erb.

Mr. Buckley is the bassoon instructor at Washington University in St. Louis. He has served as Chairman of the International Conference of Symphony Opera and Ballet musicians (ICSOM), Chairman of the ICSOM media committee, Vice President of Local 2-197 AFM in St. Louis, and as Co-chair of the National Endowment of the Arts orchestra panel. He is currently Chairman of the St. Louis Symphony Musicians Council.

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