Blog

Kim Kashkashian, Violist Extraordinaire

As I’m sure most of you know, violist Kim Kashkashian won the Grammy for “Best Classical Instrumental Solo” for her album Kurtag and Ligeti of works by Hungarian composers Gyorgy Kurtag and Gyorgy Ligeti. When the announcement was made, a huge buzz went through the viola world — both because a violist had won the solo[…]

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21st Century Musicians: New Pathways

We are all prone to plateau in our endeavors, because we don’t have such constant critical prodding and feedback. So our tennis, golf, snooker, running, weightlifting attain a certain level, but then get stuck.

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A Violinist’s Voyage

Local 802 has again published a fascinating interview of one of its older members by a younger colleague in their monthly magazine, Allegro. Kuan Cheng Lu, who joined the orchestra in 2004, interviewed Newton Mansfield, who joined the orchestra in 1961.

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Beneficial Tax Treatment for Qualified Performing Artists

It’s tax time, so for the next few weeks the Editor’s Choice will feature tax related questions. William Hunt is our resident Polyphonic.org  tax expert. Not only is he a superb violinist, he also has an MBA in finance from the Simon School at the University of Rochester. I don’t know of anyone more knowledgeable than[…]

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A Bold Experiment

Events in the Twin Cities this season have both horrified and fascinated those who care about orchestras and orchestra musicians. Events of such magnitude usually have a backstory, and the months-long lockout of the musicians of the Saint Paul Chamber Orchestra has a very rich backstory indeed. In 2002 and 2003, the board, staff and[…]

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Teaching, Learning, Experience (III)

Concert programmers, teaching artists , armies of program annotators, and museums with their rental headsets believe that audiences today lack experience and confidence in approaching an art work.

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Fingerings

Perhaps my most intense pet peeve about playing in an orchestra has to do with fingerings. When one has to share a part with someone else, one expects a bit of respect. But, unfortunately, that often doesn’t happen — I have known stand partners to write fingerings over almost every note in the part. To[…]

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An Indexed Financial Model for Symphony Orchestras

This article by Michael Drapkin was first published in October of 2011. In it, Michael describes a different orchestra financial model–how the financial stakeholders of an orchestra i.e., the musicians, staff, conductors could share in the economic success or failure of their orchestra. There is definite risk/reward here, if instituted by an orchestra it would[…]

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3:30 a.m.

My top priority — of course — is to protect the young people who study here, our faculty and staff, and all the many thousands of concert visitors we have every year. But this mandate necessitates negotiating a way through a challenging Scylla and Charybdis of choices.

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NAC Orchestra’s Community Engagement Programs

Many orchestras are designing outreach programs, in order for their musicians to become more involved with their community. One of the more successful community engagement programs is that of the National Arts Centre Orchestra (NAC Orchestra) in Ottawa. In 2006 Polyphonic published two articles about NAC Orchestra’s outreach to Canada’s aboriginal population. NAC tours nationally[…]

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1
Kim Kashkashian, Violist Extraordinaire
2
21st Century Musicians: New Pathways
3
A Violinist’s Voyage
4
Beneficial Tax Treatment for Qualified Performing Artists
5
A Bold Experiment
6
Teaching, Learning, Experience (III)
7
Fingerings
8
An Indexed Financial Model for Symphony Orchestras
9
3:30 a.m.
10
NAC Orchestra’s Community Engagement Programs