Aaron Jay Kernis, the distinguished US composer, resigned today after 15 years as director of the Minnesota Orchestra’s Composer Institute. ‘I admit total bafflement and dismay at what has been done to dismantle this superb orchestra at the height of its powers,’ he told its president, Michael Henson. ‘The tactics of a lock-out have no place in the life of any artistic organisation.’
But, in an equal swipe at the musicians, he added: ‘I have personally never seen two sides that show such unwillingness to sit down together and attempt to tackle the major challenges that confront the orchestra.’ The trigger for his resignation was the decision to quit by music director Osmo Vanska.
Read the full letter below.
It is with great sadness and a heavy heart that I submit my resignation as Director of the Composer Institute at the Minnesota Orchestra.
I admit total bafflement and dismay at what has been done to allow the dismemberment of this superb orchestra at the height of its powers. The tactics of a lock-out have no place in the life of any artistic organization. The artistic and economic flourishing of a community of musicians cannot be ensured by essentially destroying it, nor by avoiding significant compromise on both sides.
I have personally never seen two sides that show such unwillingness to sit down together and attempt to tackle the major challenges that confront the orchestra. The collaborative spirit that is the essence of music-making has been completely absent this past year, and little can be forged without a modicum of trust and good will. In all of this, the audience of music-lovers, who most appreciate the orchestra’s extraordinary gifts have been forgotten and their voices disregarded. They have been left bereft.
Throughout this year I continued to hope for a resolution so the performers could return to Orchestra Hall and the Composer Institute program resume. The program has always put artistic education and collaboration above business models and branding, encouraging highly talented young creators in a generous and fulfilling way, with camaraderie and a strong sense of collaboration between artists and administrators being crucial to the effort. I can say confidently that the Institute had grown into one of the jewels of the Minnesota Orchestra’s programs.
But with not a shred of those sentiments left at the Minnesota Orchestra, I see no point in continuing my work there. Minneapolis has been a second musical home to me. The musical relationships and world-class performances I’ve encountered there have altered the course of my own creativity and path in the most transformative ways.
Over the 15 years of my tenure as New Music Advisor and Director of the Institute it has been one of my great pleasures to collaborate with its orchestra members, many of the finest musicians in the world. The program has been fortunate to receive gracious and passionate support of musicians, audiences, board and administration over the years. I also deeply honor the vision of former Artistic Director Asadour Santourian in the initial shaping of the Institute, unwavering dedication of previous co-director Beth Cowart, and recently Lilly Schwartz has been a joy to work with and has continued that deep engagement. The many wonderfully generous partners offered their experience and expertise to hundreds of participants. They offered an inspiring and true vision of a future for music that stands in the starkest contrast to the rancorous behavior shown during the last year.
I will greatly miss working with Osmo Vänskä, whose leadership and extraordinary, galvanizing and deeply inspiring performances raised the level of a superb ensemble to one of world class. I can speak for the nearly one hundred composers who have taken part in the Institute: their lives have been changed through working with the orchestra and this superlative music director. President Michael Henson’s critical support of the Institute has been greatly appreciated, but I cannot in any way condone the actions taken this year by the board and administration toward the musicians, nor can I see the point in the musician’s intransigence and sense of violation. At a certain point one must seek a way to move forward, and now Osmo’s departure is a heavy penalty for the choices made by both sides this year.
This is a great loss for American culture and the Twin Cities. The endgame that has been played out creates a diaspora of musicians and a deafening silence for countless music-lovers. But I will not lose hope that eventually some resolution can be achieved that will allow the Minnesota Orchestra to continue to play a vital role in American arts and culture.
They sold the house the composer built to developers. Now the heritage fight moves to another front.
The birthplace is falling down.
The museum in Danbury, Connecticut, is trying to raise money to save it.
If you think you can help, visit the website or write to info@danburymuseum.org.
From the guide to historic buildings in Connecticut:
Charles Ives Birthplace in Danbury. Ives, born in 1874, was an unconventional composer who combined traditional and revolutionary elements. The original timber frame of his childhood home was built in 1780 by Thomas Tucker, but this building burned in the 1820s. The remains of the structure were purchased by Isaac Ives and rebuilt as a Federal-style house. Charles Edward Ives‘ father George Edward Ives, the youngest band master in the Union Army during the Civil War, was a music teacher who taught his son to embrace unusual combinations of sounds. In 1894,the younger Ives left Danbury to attend Yale. He would go on to form a very successful insurance company, while also composing modernist musical works which would not be fully appreciated by the public until later in the twentieth century. Ives married Harmony Twitchell, the daughter of Mark Twain’s friend, Rev. Joseph Twitchell. The house whereCharles Ives had been born was moved from its first location, on Main Street, to Chapel Place in 1923 and again to Mountainville Avenue in 1966. It was later restored by theDanbury Museum and opened to the public in 1992.
(He’s authentic)
Hear him here:
Here’s the letter that supporters and patrons are receiving today. No admission of error or responsibility by the bumbling management team. Just thanks and goodbye.
Dear John
It is with much regret that we announce the cancellation of the 2013-2014 Season. New York City Opera did not achieve the goal of its emergency appeal, and the board and management will begin the necessary financial and operational steps to wind down the Company, including initiating the Chapter 11 process.
For seventy years, since Mayor Fiorello La Guardia established it as “The People’s Opera,” New York City Opera has introduced generation after generation of young singers who are stars in the making, brought the public exciting new works and compelling, fresh interpretations of classics, acted as a champion for American composers and performers, and ensured that every New Yorker can experience the live art of opera.
We thank you for your continued support over the years and for making New York City Opera truly “The People’s Opera.”
For questions regarding your subscription, please call 212.870.5600.
For questions regarding contributions, please call 212.870.5626
For questions about the City Opera Thrift Shop, please call 212.684.5344.
For any other questions, please call 212.870.5620.
Best wishes,
George Steel
General Manager and Artistic Director
New York City Opera
And here’s the union’s response:
Statement by Tino Gagliardi,
President of Local 802, American Federation of Musicians,
re: New York City Opera
New York NY—As the musicians of the New York City Opera have long feared, NYCO management’s reckless decisions to move the New York City Opera out of its newly-renovated home at Lincoln Center, slash the season schedule and abandon an accessible repertoire have predictably resulted in financial disaster for the company. Despite disagreement with this strategy, the devoted musicians made great sacrifices in wages and benefits to keep the Opera afloat. Lamentably, due to egregious mismanagement and a paucity of vision, instead of reaping the benefits of a strengthening economy, this most storied of cultural institutions now lies in ruin. Nonetheless, the world-class musicians of the New York City Opera orchestra believe in the possibility of a new beginning are committed to continue working together as a cohesive ensemble should the opportunity arise. They are eager to hear from performing arts venues, producers, and other cultural organizations who may be interested in keeping the company together. Their ardent hope is to continue to play the opera they love in a company with a respect for tradition and a bold vision for the future.
Here’s what they tweet: Offer for tonight’s #ROHelektra – £25 for orchestra stalls. Enter ‘tweetelektra’ in the ‘do you have a code?’ box > http://www.roh.org.uk/events/22767/tickets …
Why on earth is Elektra such a hard sell?
Details to be clarified in a fortnight:
From the end of October selected opera and ballet performances from the
Wiener Staatsoper will be broadcast worldwide as live streams in high
quality via internet and Samsung Smart TV. Please find enclosed the
invitation and the media accreditation request form with further
information about the press conference (German/English) on October 15th,
where details about the streaming project will be presented.
The Kickstarter appeal failed to reach one-third of its target and was shut down this morning.
The company has posted the following notice:
It is with much regret that we announce the end of our fundraising campaign on Kickstarter and the cancellation of the 2013-2014 Season. New York City Opera did not achieve the goal of its emergency appeal, and the board and management will begin the necessary financial and operational steps to wind down the Company including initiating the Chapter 11 process.
For seventy years, since Mayor Fiorello La Guardia established it as “The People’s Opera,” New York City Opera has introduced generation after generation of young singers who are stars in the making, brought the public exciting new works and compelling, fresh interpretations of classics, acted as a champion for American composers and performers, and ensured that every New Yorker can experience the live art of opera.
We thank you for your continued support over the years and for making New York City Opera truly “The People’s Opera.”
In the thick of the civil rights struggle, the protest singer Phil Ochs wrote an ode to a southern, racist state. The refrain went:
Oh, here’s to the land you’ve torn out the heart of
Mississippi find yourself another country to be part of.
In the smaller world of symphonic music, those lines now apply to the Minnesota Orchestra. Over the past year, its board and executives have locked out their musicians, driven many of them out of the state and forced the music director to resign.
Most people we talk to in the US concert world want nothing more to do with Minnesota. The Orchestral Association has covered itself in disgrace, spending millions of dollars on a new lobby while reducing the hall and the city to silence. Throughout this dispute, the board has seemed to occupy a bubble of unreality, plugging fingers in their ears and going la-la-la at the storm they provoked.
There is no way back for these outcasts after today’s resignation of the music director. The only honorable course now is for the board and chief executive to resign.
The music director of the Minnesota Orchestra has resigned. Here’s his statement. You read it here first. (We have been told he will say nothing more on the subject and is not available for interview.)
1 October 2013
Press statement from Osmo Vänskä
Today I have given notice of my resignation as Music Director and Conductor for the Minnesota Orchestra Association, effective 1 October 2013.
It is a very sad day for me. Over ten years ago I was honoured to be invited to take up this position. I moved from Finland to the Twin Cities. At that time I made clear my belief that the Minnesota Orchestra could become one of the very greatest international ensembles. During the intervening years I have had the privilege of seeing that belief vindicated through the skill, hard work and commitment of this wonderful group of players and with the valued support of the Board of Directors, management and administration team, volunteers, as well as our exceptional community.
I send my deepest thanks to everyone involved for what we have achieved together and I wish the Minnesota Orchestra all the very best for its future.
Osmo Vänskä
UPDATE: See commentary here.
2nd UPDATE: Head of Composers Institute quits here.
Our Manhattan operavores, Elizabeth Frayer and Shawn E Milnes, have been to see the Putin team play gay-free Tchaikovsky at the Met. They almost walked out. Read their review here.
The composer Andrew Lloyd Webber has hinted on occasion that he might leave the country if a Labour government raised the tax rate for the super-rich. Well, I feel the same way.
Yesterday, the lyricist Don Black proposed that a statue should be erected in London West End to the most successful maker of stage musicals in modern times.
If it ever goes up, I shall shun the West End.
His lordship may be a genius at selling a show, but he has trashed down the genre to a series of musical clichés and pop tunes. What was once a halfway house between grand opera and lowbrow music-hall has become, in Lloyd Webber’s proficient hands, a brand for safe entertainment and stage technology that barely engages the brain.
If his bust goes up in my town, I’m outa here.
Photo: Don Black, Lloyd Webber, Richard Eyre, at launch of his next show, ‘Stephen Ward’. (c) The Stage
So who was it? In an essay in the new edition of Standpoint, I trace the beginnings of China’s musical awakening to a conductor called Li Delun, whose performance of Beethoven’s fifth symphony in Mach 1977 announced the end of Mao’s Cultural Revilution. You can read the essay here.
By unhappy coincidence, I learn today of the death, aged 89, of Li Jue, the conductor’s widow. They married in 1948 and are survived by a son and two daughters. These were the true pioneers of China’s awakening. (h/t Rudolph Tang).
