Conference 2014: Proceedings
When they've been compiled, you will be able to download the entire written proceedings as a PDF file here.
In the meantime, transcripts of specific presentations can also be downloaded separately, as they become available, by clicking on the title below.
To borrow the phrase from Tolstoy, all successful orchestras are alike; each struggling orchestra struggles in its own way. And yet, beneath the variable surface layer composed of business tactics and community-relevance initiatives, there is an underlying theme to the struggle that all orchestras today share. It is the same struggle that engages classical music itself.
We asked our major donors directly if we could count on their continued financial support for the downsizing plan to become a regional orchestra. The results were unanimous: nobody would give us the same amount or anything close to it for a lesser orchestra. Most wouldn’t contribute anything at all. We were built on excellence and that’s what we needed to be.
Modernism in architecture and music is very much like the artificial invention of a language, like Esperanto. Esperanto was used by tradesmen and by a very small number of people. But imagine that a very powerful political group took over not just a province or a country, or even a continent, but over the world and imposed Esperanto as a single language, forbidding all other languages and declaring them as purely historical – no longer valid, no longer legitimate for use today. That is what has happened to architecture and even to music.
The famous French writer Alexis de Tocqueville discerned a permanent danger, which he described in these terms: the tyranny of the majority – that is to say, the danger that every public decision will be taken by the majority for the majority and disregard both the rights of minorities and the possibility of disagreement.
We have the impression often that truly serious music has, as it were, put its ear to the ground and heard the far-off murmur of the infinite. And that’s the kind of experience you have obviously from things like the openings of Bruckner’s symphonies and the famous opening of Beethoven’s ninth symphony in which the music is saying, “Look, something is speaking through me from far, far away – and you must put your ear to the ground just as I am doing.”
Thanks to developments that have been underway not for years but centuries, persons in our time find it impossible to credit the idea of intrinsic goods. Things may be good for something, this we readily see, but we become at best uncomfortable and at worst incredulous that anything should be good in itself. If this is correct, then orchestras are in a dire condition indeed.