Great Expectations

First I also want to thank everyone for this wonderful opportunity to discuss these issues and come closer to answering some of the questions posed. I think that we will only arrive at solutions through continued forums like this throughout our career – constantly
questioning our goals and mission and how better to achieve them.

On the topic of whether we should be required to learn business skills as part of a bachelor’s in music: I can offer some perspective I’ve recently gained through my experience as a chamber musician running my own group. One hot topic for most newly formed chamber ensembles is whether or not to get management. This is also something that aspiring soloists will ponder. Most of us know that management is sometimes offered as part of the package one receives for winning a competition such as Fishoff or the Van Cliburn Competition. Of course these are wonderful opportunities, however not the only option toward creating a name for yourself and making your dream your career. As some of my colleagues and I are currently researching the field of companies, it is becoming more clear that a good number of these managers will only do what seems to be the minimum of what is required of them. It makes me wonder if it is truly the most beneficial scenario for the group. For example, in some cases, even if someone in the ensemble happens to secure a performance contract, the management will still take a percentage of this fee as their own commission. Also, the question of being misrepresented is also one I take seriously. I recently had a production meeting with a presenter where the manager from another group was also invited as they had a show in the same space the following night. During the course of the meeting, this manager was excessively pushy and stressful and was visibly annoying the presenter to the point where it wouldn’t surprise me if the group represented wasn’t invited back in the future – a very unfortunate circumstance as the ensemble is one of extremely charming and amiable musicians. I’m sure that there is an obvious parallel from the chamber music world to that of the orchestra structure.

I do believe that having the know-all to do your own self-promotion is extremely valuable in the field of chamber music and can be more rewarding in fostering relationships with communities and donors alike. I have, however, definitely come to the conclusion that though it may not be necessary to teach every musician management skills during their time at college/conservatory (writing program notes, learning negotiating skills, etc.) it is necessary for educational institutions to instill a reality-based perspective and ensure that their musicians will graduate being able to address the “why”
questions intelligently. Why are we having difficulties cultivating our audience? Why are musicians sometimes compared to prison guards when it comes to job satisfaction? Why play pops concerts? Why did I choose to become an orchestral musician? Hopefully we can all continue to define the answers throughout our careers!

I’m thankful to Polyphonic and Drew for a wonderful week of discussion which I’m sure will spawn many more conversations from all of us in the future!