Doublereed Archive - Posting 000055.txt from 2004/03

From: Oboeeee@-----.com
Subj: [DR-L] Paying the Piper
Date: Sun, 14 Mar 2004 21:24:46 -0500

Dear Phil and Phil,

My rule with the Atlanta Baroque Orchestra is that NO patron pays ANY piper
unless financial support is in concert with our standards and rules of
historical integrity...and that means note-for-note!

Warm Regards.
Janie
Vice-President for Development
Atlanta Baroque Orchestra
*Performing in the Black
Original message:
>>
From: "Philip McKenzie" <philclimb1@-----.com>
To: <doublereed-l@-----.edu>
Subject: RE: [DR-L] Quote of the Day
Date: Sat, 13 Mar 2004 11:01:38 -0600
Reply-To: doublereed-l@-----.edu

A very controversial posit from Ezra/Janie for this list - the role of the
facilitator in the artistic process. Is the trust fund heiress who endows a
principal chair as valuable to the artistic process as the musician who occupies
it? Or is the artistic administrator of a major orchestra worth half as much
as the conductor but 7 times more than the
average musician?

Can the artist survive without a supporting cast?

Troubling concepts encroaching on Oboe Planet.

Philip D. McKenzie
-----Original Message-----
From: doublereed-l-admin@-----.edu
[mailto:doublereed-l-admin@-----.com
Subject: [DR-L] Quote of the Day

"If a patron buys from an artist who needs money (needs money to buy tools,
time, food), the patron then makes himself equal to the artist; he is building
art into the world; he creates."

-Ezra Pound (1885-1972) American poet, critic
Letter, March 8, 1915; The Letters of Ezra Pound, 1907-1941
<<

Whoever pays the piper calls the tune.

Nowadays, it seems we are going back to a form of patronage in classical
music, since the average person isn't ready to spend what it would take to put on
an unsubsidized classical concert. (Though pop concerts and ball games are
able to fill stadiums at pretty high prices.)

I find myself wondering when someone like Micheal Tilson Thomas puts on a
series such as "American Mavericks," part of his genius is that he manages to
come up with a theme that appeals to politics/philosophy of his benefactors.
Though I'm not sure what the politics of "American Mavericks" would be. Is it a
sort of Ayn Rand stance? Or a populist sort of thing? I guess it depends on who
is doing the "mavericking" and what they were rebelling against.

- Phil Freihofner