Brazil – the youth orchestra protestmain
The protest by members of the youth orchestra who refused to play in place of sacked members of the Brazilian Symphony Orchestra was cut off by the hall management, who disconnected the microphones.
following the “concert chaos”, a letter in which I attempt to
There are those who wonder, of course, because we did what we did and
especially the manner in which our action has been undertaken. Before
answering this question, I would like to ask a question that consumed
me for whole nights:
Why was the concert not canceled?
The reasons why this concert should have been canceled wouldn’t fit on
a letter. OSB is undergoing a crisis of unprecedented proportions. This
fact is already known from the international community and the
orchestral public at large. Virtually the entire music community spoke
out against what is being taken forward by FOSB. Only from the top of
my mind, The Rio de Janeiro Federal University, the UNIRIO, the
Villa-Lobos Foundation, Petrobras Symphony, the Municipal Theater
Symphony, The Order of the Musicians of Brazil and SindMusi published
official notes in rejection. Artists of international level refused to
get involved with the orchestra during this period, such as Nelson
Freire, Cristina Ortiz, Roberto Tibiriçá, Ana Botafogo, Alex Neoral,
Fabiano Segalote and Marina Spoladore, or published open letters
against the aforementioned sackings, as Isaac Karabtchevsky, Alex
Klein, Ricardo Rocha, Alison Balsom and dozens of others.
We, young and (at least in my case) unexperienced musicians, found
ourselves in the position of involuntary replacement of our colleagues
– and in many cases also our teachers, mentors, friends, professional
examples. Although Conductor Minczuk has stated that “replace the
musicians of the OSB […] was not the ‘intention’ of the Foundation,”
this was certainly the ‘effect’ of such a decision. Questioned as it
might be whether, in fact, that replacement of sorts IS what happened
or if this idea was touted to harm FosB, there is no doubt that this
was indeed the prevailing view in our ways of working and living
together. And we suffered due it, and not little suffering.
Therefore, we the youth orquestra, though not out of “free will” as was
once said, have been placed as defenders of the actions of our
superiors. After all, if we were still playing under their orders and
accepting their decisions, how could we be in favor of our fired
And beyond all this there was the rage buildup around the concert
itself. More than once, the subscribers of the series of OSB have come
publicly to express they did not want, nor had paid for, to attend to a
grafted youth orchestra. It was a known fact that musicians of the OSB
would be playing outside the theater in protest, and that musicians
from other groups and localities would enter the theater with the sole
purpose of protesting Minczuk and booing the musicians.
Let us, for a minute, place ourselves in this situation where the OSB
Young saw himself: our audience divided between suspicious subscribers
and hostile players, and at the outside our offended former classmates
and former teachers playing in protest to the concert that we, of all
people in the world, would be running.
Hence my question: Why was the show not canceled? Why was this concert
carried out until the very last consequences, if everything and
everyone was against it? The Young OSB is an educational project; we
are there to learn. What could be learned under these conditions? Why
not one of the 11 Council members raised the question of how to be on
that stage that day would be harmful to us?
Puting it another way: between Maestro, Foundation, Council Board,
sponsors, production and audience, why did nobody thought of us?
Music comes first! We in the OSB Youth orchestra firmly believe in this. We believe that in order to have music, and in order to have musicians, there must exist above all respect.
Faced with this whole inseparable situation – where an immoral action finds support in the law – the dignity of the entire musical class should prevail and, consequently, the OSB-YO manifests itself peacefully by refusing to play, not only because we being used to replace the professional OSB, which is a fact, but because today
we are in the role of being
the future of music in our country, and do not want our musical and social reality to remain without respect, morals or dialogue.
Although on more than one occasion it has been stated that the conductor and FOSB are open to dialogue, we don’t believe this will solve our situation as young musicians, for this same channel of dialogue was open to the professionals and FOSB did not compromise, triggering this sad scenario where the music scene is today.
We want, as of today, now and forever, to exercise our profession, making music in a healthy environment and having respect for others as a principle.
We are here today in this situation and choose to act, we choose to express ourselves on behalf of music and truth, and, with all due respect to the audiences of today and of always, we will not be playing today.
We place out hope on doing the right things, and it is with this hope that we appreciate and rely on your support.
The OSB Youth Orchestra
Acreditamos que para haver música deve haver músicos, e que para haver
deve acima de tudo existir respeito.
Frente a toda esta situação indissociável – onde uma ação imoral
respaldo na lei – a dignidade de toda a classe musical deve prevalecer
sendo, a OSBJovem se manifesta de forma pacífica se recusando a tocar,
apenas por estarmos sendo usados para substituir a OSB profissional, o
fato, mas porque hoje estamos no papel de ser o futuro da música no
país, e não
queremos que a realidade musical e social continue sem respeito, sem
moral e sem
Embora em mais de uma ocasião tenha sido colocado que a FOSB e o
abertos a diálogo, não acreditamos que isso possa resolver a nossa
músicos jovens, uma vez que esse mesmo canal de diálogo foi aberto aos
profissionais e a FOSB não transigiu, desencadeando este triste cenário
em que o
meio musical se encontra.
Queremos a partir de hoje, de agora e para sempre, exercer nossa
fazer música em um ambiente saudável e tendo como principio o respeito
Hoje estamos aqui nesta situação e escolhemos agir, escolhemos nos
prol da música e da verdade, e é com todo o respeito à plateia de hoje
sempre que não tocaremos hoje.
Temos esperança nas coisas certas, e é com essa esperança que
contamos com o apoio de todos vocês.