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- 2. THE ULTIMATE TOP-DOWN MONOLOGUE
- 6. THE ULTIMATE TOP-DOWN MONOLOGUE
- 8. “Large orchestras continue as they always have, playing great music to be sure, but doing it in a way that leaves enormous amounts of musical talent unused on the rehearsal stage and sufficing with less engagement and commitment from musicians than they could have.” ~J. Richard Hackman Edgar Pierce Professor of Social and Organizational Psychology Harvard University
- 10. “Playing without a conductor is risky, but the free-spirited energy of these keenly attentive musicians result in an edgy spontaneity.” -The Economist
- 12. More than 70 recordings under various labels
- 14. DIALOGUE
- 15. LISTENING
- 16. THE CHALLENGE
- 17. THE SOLUTION?
- 19. SOLUTION: STYLE CRITICISM VS. FEEDBACK
- 20. DISCUSSION: core rehearsal STRATEGY: interpretation EXPERIMENTATION: full rehearsal FEEDBACK: listening, communication EXECUTION: performance ORPHEUS PROCESS ™
- 21. RAGA SAGA VIDEO CLIP
- 23. THINKING ABOUT TOMORROW… LEGACY
- 26. Cologne, GERMANY
- 33. Garden City, NEW YORK
Editor's Notes
- Thanks Traci. [Introductory remarks all done by Traci. She would have also introduced you and your background]. REFERENCE: Instead of the top-down monologue or dysfunctional silence that characterizes most workplaces, democratic organizations are committed to having conversations that bring out new levels of meaning and connection.
- Instead of the top-down monologue or dysfunctional silence that characterizes most workplaces, democratic organizations are committed to having conversations that bring out new levels of meaning and connection.----- Meeting Notes (5/5/11 07:58) -----there's no better representation of a top-down monologue than a conductor. In many symphony orchestras there radiates, as Traci said, a dysfunctional silence. Oxymoronic as that may sounds it is true.
- ----- Meeting Notes (5/5/11 07:58) -----The figurehead of the iconic conductor has spanned for more than 100 years - ranging from Toscanini...
- ----- Meeting Notes (5/5/11 07:58) -----To Leonard Bernstein
- ----- Meeting Notes (5/5/11 07:58) -----to Gustavo Dudamel.
- ----- Meeting Notes (5/5/11 07:58) -----RECAP: The Ultimate Top-Down Monologue.
- Tens of thousands of classically trained musicians dream of obtaining full-time employment in a top-tier orchestra. In some cases, they believe this is the only desirable prospect available for achieving a successful life in music (though anyone who has read The Savvy Musician surely understands that many other exciting and feasible paths exist!). In their minds, an orchestral job is the ultimate professional goal and a near utopian career.
- According to Harvard researcher Richard Hackman, orchestral musicians rank among the lowest in terms of overall job satisfaction compared to other professions, below even federal prison guards. (Incidentally, chamber musicians are the happiest.)
- Orpheus Chamber Orchestra, performing without a conductor since 1972. Include archival photos – from 1972 to the present. Concept of top-down leadership was challenged by a group of young musicians. Although many thought this was a radical experiment in the spirit of the times, for Orpheus musicians it was a lasting commitment to a new and successful way to produce the highest quality of musical performance. An experimental practice in 1972 (then known as the Orpheus Chamber Ensemble), almost 40 years later, little did the musicians then knew that this experiment lasted the lives of their careers—ultimately changing the way musicians perform together and the way we listen and interact with music—live and recorded.
- As part of the introduction – archive photo of listening example - Orpheus in the recording booth – taking a step back – removing self from the whole to observe and provide feedback to the group. Again illustrated in the picture of Smuel with his ears cupped.
- Remark on recording legacy – DeutscheGrammophone
- Orpheus wins it’s first Grammy in 1995 for Shadow Dances.
- Dialogue is one of the mainstays of self-expression. [emphasis on expression]. Orpheus musicians in effect have a dialogue with composers, living and past [through musical scores and other means]; fellow musicians on stage; and the audience. Dialogue – musicians talking to each other. As musicians, our dialogue can also extend beyond conversing – musicians also listening with their eyes (in addition to their ears). Body language is vital to coordination from time to time.
- Speaking of listening, which is ingrained in the core of a musician’s being, Orpheus musicians listen twice as hard. Watching vs. listening. Finding your place by listening – score study. Knowing how you fit in by study and assessing the moment.
- Here’s the challenge, putting together a coherent and convincing musical performance with time limited by cost and schedules/time while allowing for a multiplicity of voices.
- Structure and Style.
- The solution: be respectful of time and resources – structure. Core group. Self governance. Artistic directors. Artistic planning group. Elections and rotations of certain positions. Constantly switching up the dynamic and encouraging dialogue from all corners of the ensemble. From the edges from the middle from the front. Full compliment – union work rules. Set start and stop times. Breaks, travel and working conditions.
- Style – respectful tone. Have you considered…Owning your feedback. I think/feel vs. you should. Feedback vs. criticism. Audio + visual (Raga Saga). Criticism brings around defensive responses. Whereas feedback is yearned for from individuals who strive for constant improvements. Musicians are known perfectionists.
- Orpheus Raga Saga, Orpheus partnered with Ravi and Anoushka Shankar for the world premiere of his Third Sitar Concerto which we commissioned. Let’s watch a brief rehearsal excerpt…
- We have partnered with various organization and institutions in these Open Rehearsals, in addition to the one you just saw at the Asia Society of New York. Talk more about the recent one at Memorial Sloan-Kettering Cancer Center.
- A far cry – alarm will sound – opus one/Memphis Symphony, SPCO – Juilliard – Manhattan School of Music – UMD. The continuing impact that Orpheus hopes to have on the music world and beyond.
- Insert information about next season and touring cities. In addition to our 5 subscription concerts at Carnegie Hall in New York we will be bringing our performances to audiences nationwide and internationally – venues and halls and cities. Come check us out!
- Thank – and please don’t hesitate to contact me and stay in touch.