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Musicians with two careers
Re “Musicians with two careers,” by Maria Corley—
It’s a sad fact that classical music is all-consuming yet still demands to be fed other nutrients as well. I found I had the need to study dance to complete my musical education.
The problem is less one of maintaining dual careers as it is maintaining any music career so well that you have some free time for other passions. Our culture is not generally supportive of music, or there would be more sustaining grants and part-time jobs offered that would be an ideal source of support for a musician.
When leaving school, faced for the first time with the essential conflict between needing a minimum of three hours or more of daily practice to maintain technique and repertoire, and the demands of 9-to-5 (or longer) jobs, musicians are immediately divided into the advantaged (who don’t have to support themselves or can already do it through music), the risk-takers (who try to find an alternate path), and the play-it-safers (who take the jobs they can get and play when and if they can).
It depends what your instrument is. Many singers haven’t developed their voice to the point of needing or being able to sing more than two hours a day, so working full-time is perhaps less of a strain for them; and if they are fortunate they are able to ease into the opera world and begin to sing full-time gradually. Some instruments may simply require less work or repertoire.
Some people have tremendous energy and can work and practice. But demanding instruments like the piano and harp require too much attention to thrive in addition to full-time jobs.
I rarely found a solution for myself. Most of my peers went into the computer world and disappeared. A few became full-time free-lancers. A few became well-known soloists. Two or three became famous divas. Some went to Paris. One or two went to Amsterdam. Others became cantors.
Not a few went on to other professions. We were welcomed to rabbinical, medical and education schools. Well, a conservatory education is at least good for that. And others could go home and find teaching or other work there.
I began working in music publishing, sacrificing benefits for one more hour in which to practice, and could have remained there, had I chosen to. For a good while, I survived through magazine publishing and could have made a career there.
But the muse demanded much more of me than that, and here I am.
Saul Davis
Center City/Philadelphia
December 26, 2009
In Carl Ellenberger’s case, Pennsylvania is the richer for his two careers. Medicine brought him to Pennsylvania and Music at Gretna is the gift of an obviously visionary musician. It is one of those venues where the quality of the performance is consistently superlative.
So I vote “pro” for the well-rounded musician.
Nadeen Van Tuyle
Fairmount/Philadelphia
December 22, 2009
Having been a longtime patron of Music at Gretna, I would urge any reader to look into their summer music festival. It’s a fantastic venue only 80 miles from Center City Philadelphia with the very best in classical, jazz and popular music during the month of August.
Gilbert S. Feinberg
Philadelphia
December 23, 2009
Maria Corley replies: Carl Ellenberger acknowledges that the flute is more forgiving than some other instruments, and this is why he has been able to maintain his skills.
Editor’s note: To read another response, click here.
Choreographer’s failure?
Re “A choreographer’s failure,” by Jim Rutter—
I am glad the writer appreciated Alex Ketley’s ballet, Silt. But I also wanted to say fear not: the work is not lost forever.
When BalletX commissions a new work by a choreographer, the work actually becomes the property of BalletX and part of the repertory for an agreed-upon time. Each of our shows is professionally videotaped and kept in our archives, and made available on our website for public viewing.
Hope this answers some of the questions. I will forward Jim Rutter’s article to Alex. Maybe he will have some things to add.
Christine Cox
Co-artistic director
BalletX
Center City/Philadelphia
December 28, 2009
GI Christmas
Re “A GI Christmas carol,” by Bob Ingram—
Thank you for the gift of your story. I lost my mom exactly a year ago. And one of two brothers just before that. So this year feels lonely. I’ll listen to the Messiah and think of the love and connectedness your story brings to light.
Anne Todd
Devon, Pa.
December 23, 2009
When Ingram publishes a complete memoir (he must, judging from this episode!), I’ll be the first in line to buy it. Touching. Merry Christmas!
Patrick D. Hazard
Weimar, Germany
December 23, 2009
A very lovely simple fable of Christmas joy. Great story.
Dinny Zimmerman
Peterborough, N.H.
December 22, 2008
Beautiful story!
Victoria Skelly
Wayne, Pa.
December 23, 2009
Superior Donuts
Re Steve Cohen’s review of Superior Donuts—
People’s Light had a production of Man from Nebraska in 2006. It was an excellent production, so it may be a while before any local companies will produce it.
And I totally agree with Steve Cohen: I think Tracy Letts is one of our greatest living playwrights.
Amanda Schoonover
Philadelphia
December 23, 2009
R.I.P., Mum Puppettheatre
Re: “R.I.P., Mum Puppettheatre,” by Bob Cronin (Oct. 12, 2008)—
I miss it very much and wish there was a way it could return! I took my niece and nephew to several shows there and they loved them. Recently they asked me when we could go again. It is a tragedy that such a unique place is no longer in existence.
Patty Rehn
Center City/Philadelphia
December 23, 2009
Editor’s note: To read another letter about Mum, click here.
Eagles heroes, up too close
Re “My afternoon with Leonard Tose,” by Dan Rottenberg (Editor’s Notebook)—
While I never met Tose, I did have dealings with his daughter, Susan, who was an attorney and CEO of a short-lived food company. Probably like her father, she treated me like I worked for her— a trait shared by many of the CEOs I’ve dealt with.
I talked to Norman Braman on the phone once for a story I was doing about his nephew, Buzz Braman, who was then the 76ers’ shooting coach, for the late, lamented Philly Sport magazine. He was cordial, cooperative and forthcoming, and not once tried to sell me a car.
I shook Buddy Ryan’s hand a few times at trade dinners where he was the speaker, and I don’t think I ever saw a cockier dude.
I’ll still take those flawed characters-- because they were characters (in the Damon Runyan sense), not corporate marionettes. Your points are well
taken, but I think those fat, shirtless guys from Kensington painted green— those true Iggles fans— liked it better then, too.
Bob Ingram
Burleigh, N.J.
December 16, 2009
I am the friend who helped drive Dan Rottenberg to see Moose Skowron in 1965. That was a true story.
Barry Hudson
Portland, Ind.
December 21, 2009
In the blood
Re “Aunt Millie’s legacy,” by Jackie Atkins—
What an odd choice of words: ”siss im blut.” In Amish and Mennonite circles, that always refers to a negative trait, such as a mental illness or genetic flaw that is passed down a generation. Is this your intent— to denote this
legacy as such? We would never refer to a loved one’s legacy in such a way.
Amos Werner
New Hope, Pa.
December 22, 2009
Jackie Atkins replies: I have also heard this phrase to refer to any characteristic that transcends the norm. Certainly, in this society, where a monetary value is cherished above all other attributes, to live life for any other goal is not considered, so to speak, kosher. “Siss in blut” is the only phrase that can explain the motives of people who live outside accepted values. I’m sorry Mr. Werner didn’t catch the sarcasm behind my phraseology. My Aunt Millie, if she were alive, would probably find the whole article funny.
Sweeney Todd in Wilmington
Thanks for Julius Ferraro’s fine review of Sweeney Todd at City Theater Company in Wilmington. This production deserves some Barrymore nominations! Well-written review— thanks!
Ron Ozer
Arden, Del.
December 22, 2009
Thank you for the review of Sweeney Todd. It was a joy to work on it as musical director with such a great cast/supporting team/tech team/orchestra and director Michael Gray.
J.A. Kawarsky
New Hope, Pa.
December 21, 1009
New Year’s Eve, 1949
Re Steve Cohen’s review of Holiday Show With the Swing Club Band—
Saw the show, love the show. The band invites you to tap your feet throughout. Get out of the cold and into the warmth of an old-timey variety show with great singing, hilarious comedy and a grand welcome to the New
Year.
Diane Reilly
King of Prussia, Pa.
December 21, 2009
Headlong’s more
In response to Jim Rutter’s critique of Headlong Dance Company’s more (“Is it art, or just movement?”), and in response to the responses of Lisa Kraus and Raymond Ricketts—
Mr. Rutter, have you considered that “clinical” and “detatched” might be part of how the piece addresses the question of what happens when the body disappears?
Your criticism of More seems to expect the piece to behave like an essay: Ask a straightforward question and proceed to answer said question. I urge you to consider that choreography’s methods for making meaning might be much messier than that.
Laura Vriend
Riverside, Calif.
December 21, 2009
David Mamet’s Race
I have yet to see Mamet’s new play, although I do hope to do so now that I read Toby Zinman’s provocatively insightful review of Race. The review brought to mind an article Mamet published last year in the Village Voice, entitled, ”Why I Am No Longer A Brain-Dead Liberal.” After reading the review, I wonder, with what label might one fit him now? “Illiberal prophet,” perhaps?
Craig R. Tavani
Facetime Studio Performing Arts
Phoenixville, Pa.
December 16, 2009
Composer’s complaint
I am the composer of the Violin Concerto that was reviewed on your site by Tom Purdom. Like many others, I was appalled by its lack of sensitivity, its inaccuracy and the dismissive tone of the review. The musicians of the Philadelphia Orchestra and its staff were unanimous in their praise of a very complex work that was played with verve and brilliance by my son. The performance of his part, played from memory, should have been recognized.
A prominent conductor, who was in the audience, stated that my Violin Concerto is a work that is superior to the Bartok Second Violin Concerto that was premiered on the same 1718 Strad that my son used. A letter to me from the conductor, Neeme Järvi, called the concerto “amazing.”
My music is universally known for its impeccable craftsmanship. Any implication that this music lacks focus will be derided by knowledgeable persons. I did see a second review (by Steve Cohen), which was more of the same.
This was a historical event, not simply another subscription concert. My son, Gregory, became the first black violinist to play with the Philadelphia Orchestra since it was formed in 1900. The former concertmaster of the Orchestra, Norman Carol who was in the audience, was one of the first persons to enthusiastically congratulate Gregory for his superb performance.
It is not altogether surprising that intellectually challenged, attention-deficient persons would regard the concerto as uninspired and meandering. The program notes, if read carefully, would have helped to dispel some of the ignorant commentary. But there’s still the tin ear that’s hopelessly inadequate.
George Walker
Montclair, N.J.
December 17, 2009
Gorky retrospective
Robert Zaller’s review of the Gorky retrospective at the Art Museum is a paroxysm of misjudgment (the Art Museum doesn’t even charge for this exhibit) and questionable comparisons (the Barnes is too big a leap, and since when are masterpieces lacking in “inherent quality”?).
Marc Allen
Matawan, N.J.
December 9, 2009
Pollack died in a car crash. Gorky was a major artist and deserves a comprehensive exhibition. The quality of his works varied, but that can be said of all artists.
Robert Zaller’s comments about commercialism are pointless— many of the major retrospectives are mounted for commercial reasons, but the result for those who appreciate art can be very satisfying and often revelatory.
As the son of an artist, I always ask myself: What would the
artist want? Most artists want their works seen by as many people as possible. I think Gorky would be very happy with this exhibition.
Thomas Goutman
Center City/Philadelphia
December 9, 2009
As long as you’re up, get me a grant
Re “The trouble with government arts grants,” by J.T. Barbarese—
Write on, JT! Like a monster chasing its own tail, “democratic art” ultimately only produces propaganda: art that is not from (or for) the people. The Muse is blind and strikes whenever and wherever She will. No one who has ever experienced this would compare it to being picked to serve on a jury panel.
Margaret Chew Barringer
Narberth, Pa.
December 2, 2009
The problem with government arts grants resembles the problem with the health care industry: In both cases, the administrative bureaucracy has overrun the field like kudzu. The amount of money that reaches artists (never mind the selection process, though I concur with the various descriptions) is a fraction of that paid to those who administer the programs.
Richard Arnest
Milford, O.
December 3, 2009
The Academy’s acoustics
Re “The Academy’s acoustics: A forgotten treasure,” by Steve Cohen—
The first time I attended a concert in Carnegie Hall, I thought: It’s a beautiful place with such history. But what is all the fuss about? It had no lovely echo, nor even distribution of tone. It had audible flaws. I found Town Hall much better if you sat upstairs. But I found New York sadly lacking in fine halls. The better ones, such as Aeolian Hall, had apparently been torn down, or put to other uses.
When I arrived in Philadelphia, attending the Orchestra’s concerts in the Academy of Music was the thrill of my life. I was blessed to have several years to enjoy that sound before the Orchestra departed for the music depot. It was the first time, at least since childhood concerts at Northrup Auditorium in Minneapolis, that I had heard classical music in a classical setting that was a suitable frame for it.
I could easily hear how it could be improved upon with minor adjustments, and how it had been compromised. Nevertheless, it was the first time I heard an orchestra in which every section was perfectly balanced, and the brass and percussion never overpowered the other players. I could even hear every note of the harps perfectly clearly.
The fact that the Academy was not a loud hall meant that the audience was quiet and listened actively, something I had never experienced before.
The Academy has been bad-mouthed for too long by too many people, especially ones who should know better. Well, the ones who trash-talked it now have something bigger they can really trash-talk.
Meanwhile, we still have an acoustically perfect Metropolitan Opera languishing on North Broad Street. Who is going to do anything about that? And how about the Boyd Theater? It probably has terrific acoustics.
Saul Davis
Center City/Philadelphia
December 26, 2009
I believe there is a valid explanation for the apparent inconsistency in the historical and more recent assessments of the Academy of Music’s acoustics. The sound that musicians hear onstage is actually quite good, both in terms of clarity and reverberation. After the sound passes the proscenium arch, however, the sound— and its impact— dissipate dramatically, producing a very “dry” sound for the audience.
If the musicians who expressed positive comments about the Academy’s acoustics did so in the context of their onstage experience, it does not mean that the audience experience is anywhere near as positive.
Joe Kluger
Gladwyne, Pa.
December 3, 2009
Editor’s note: The writer was chief executive of the Philadelphia Orchestra from 1989 to 2005.
Steve Cohen replies: Joe Kluger’s point is valid for recent decades. But because of space limitations, I omitted a considerable amount of testimony from audience members, as well as from musicians who attended on nights they were not performing. The evidence seems overwhelming that, pre-1960, excellent sound was heard throughout the Academy of Music. Ward Marston, one of the world’s most-honored record producers, told me, “The Academy is by no means a poor-sounding hall. Upstairs in particular, where I usually sit, the acoustics are fine— a small but beautifully-balanced sound, always in good proportion.”
Joe Kluger replies: Well, I was not listening to concerts in the Academy of Music pre-1960, so I don’t know whether the acoustics somehow changed over time or whether the perceptions of those who say they remember it sounding good were influenced by the public myth that the Academy of Music had great acoustics. (I suppose if my grandmother told me that when I was five, I might assume it to be true.)
Editor’s note: To read another response, click here.
Playing Helen Keller
Re: “Who should play Helen Keller?”, by Jim Rutter—
Recently, there has been misunderstanding about the Alliance for Inclusion in the Arts’ position with respect to the coming production of The Miracle Worker on Broadway.
The Alliance fully supports artistic freedom and has never protested the casting of Abigail Breslin in The Miracle Worker. We support the creative freedom that all artists bring to the casting process. However, it was our disappointment not with the selection, but the process in which the production selected Ms. Breslin, an actor of immense talent, that required that we speak.
It would be our hope that the producers of work such as The
Miracle Worker consider in their casting process actors from the communities we service— actors who could also bring significant breadth and depth to the role. That is our hope for the future of this project, this role, and other roles and projects in this same position: Consider those in the community represented on-stage.
And to be clear, it is not and never has been our position to call for the firing of any actor. We only wish Ms. Breslin the best in her Broadway debut.
Sharon Jensen
Alliance for Inclusion in the Arts
New York, N.Y.
December 3, 2009
Helen Keller would hardly describe her experience being deaf-blind as suffering, so why does Jim Rutter? Rutter contradicts his own position when he writes, “Two years ago the blind actress Pamela Sabaugh delivered a mesmerizing performance as the blind title character in Molly Sweeney— because she’s a good performer.”
Being skilled in the craft should always be the Number One criterion in selecting an actor; that was never in dispute.
Lawrence Carter-Long
New York, N.Y.
December 3, 2009
‘Birth of the Cool’
I found Judy Weightman’s review of the Barkley Hendricks retrospective at Pennsylvania Academy very interesting. It was a great show, making me think about my own art-making process. I too am a painter who graduated from the Pennsylvania Academy just four years ago. One of the things I really liked about Hendricks’s work was the way he played around with the concepts of symmetry and centrality.
Jed Williams
Philadelphia
December 3, 2009
Musicians and money
Re “Musicians and money,” by Maria Corley—
All I can say is that my teacher, Lucile Lawrence, would play for free when she could— particularly new music— to be of service to music. I always have done so as well. I have been most fortunate to find some colleagues willing to do so to support the Harp Festival of Philadelphia, when others will not.
Any musician who is making a living in music, however difficult, owes it to music to be available when circumstances demand it. Each of us may have different standards for what that circumstance is, but it should be heeded. Music is about the soul, not money.
Saul Davis
Center City/Philadelphia
December 26, 2009
Up In the Air
Re Judy Weightman’s review of Up In the Air—
Sentimental slop. Chick flick. Skip this one.
Richard Carreño
Center City/Philadelphia
December 6, 2009
Judy Weightman replies: Not enough explosions, I guess.
Those despised Eagles
”Why I Despise the Eagles” is why you gotta love Bob Ingram.
Bruce Buschel
New York
December 7, 2009
Editor’s note: To read my reply to Ingram, click here.
Orchestra review
Re Robert Zaller’s review of the Philadelphia Orchestra’s Mozart/Bruckner concert—
A pleasure to read this literate and lucid review.
Bernard Cohen
Center City
December 2, 2009
The Barnes: A protester’s story
Re “Radicalized by the Barnes,” by Victoria Skelly—
At what can only be called a symbolic dog and pony show of a groundbreaking for the Barnes on the Parkway, Bernard Watson, chairman of the Foundation’s board of trustees, made this gratuitous remark about the protesters on hand: “None of these people raising their voices now in anger reached into their pockets to assist us in Merion.”
The Barnes Foundation’s financial problems were due solely to two decades of mismanagement by its very board of trustees, during which it violated numerous provisions of Dr. Barnes’s Indenture and spent millions on frivolous (the court’s characterization) lawsuits against neighbors who were guilty only of being whistle-blowers.
The Barnes trustees wasted additional millions in unsuccessful challenges to court-awarded legal fees amounting to less than $100,000.
Furthermore, the Barnes board never did attempt to mount a serious fund-raising campaign of its own.
The protesters, on the other hand, negotiated (at their own effort and expense) a bond leaseback plan with Montgomery County that would provide an infusion of $50 million toward an endowment at no cost to the taxpaying public.
“These people” also successfully petitioned Lower Merion Township to increase the allowable attendance at the gallery. The protesters also commissioned a study indicating that the Barnes, in its totality, would qualify for the prestigious designation of National Historic Landmark, thus making it eligible for substantial funding.
The Barnes board, which on its own should have initiated such a study, summarily rejected these saving measures.
Aram K. Jerrehian
Wynnewood, Pa
November 24, 2009
Moving the Barnes: A done deal?
Re “Moving the Barnes: A done deal,” by Gresham Riley—
For 25 years, Judge van Dusen established and maintained Philadelphia’s reputation for having the best-run Orphan’s Court in America. He was only one of a long succession of good judges of the Orphan’s Court. A “good” Orphan’s Court would be one that protects strict fidelity to the donor’s intent— and, if the intent becomes utterly obsolete, devises a widely acceptable alternative. The value of such a court is quite utilitarian: It attracts future donors to choose Philadelphia as a place to locate a museum, college or philanthropy. The thing such a court must avoid at all costs is to develop a reputation for allowing greedy politicians to flout the donor’s clear wishes and grab the money as if they owned it.
If you don’t think the Barnes is a good example, consider the Board of City Trusts. Who in his right mind would now leave his entire estate to the City of Philadelphia? But Stephen Girard and Wills and many others once did so with great confidence in the fidelity of the Board of City Trusts.
George Ross Fisher, M.D.
Haddonfield, N.J.
December 27, 2009
Gresham Riley replies: No matter how one assesses the history of the Philadelphia Orphan’s Court, the Barnes Foundation was never part of that story. The Foundation’s lengthy legal drama was played out before the Montgomery County Orphan’s Court. Although I have long argued that the latter was correct in allowing the Foundation to restructure its governing board and to relocate, it clearly failed in the past to be a “good Orphan’s Court” by Dr. George Fisher’s standard. For far too long this Court enabled a board of trustees, successive administrations, and generations of supporters to avoid “strict fidelity to the donor’s intent.” I refer, of course, to Dr. Barnes’s arts education program for his intended audience. With an enlarged governing board, a new administration and the museum’s location on the Parkway, there is reason to think that at long last the donor’s intent will be honored.
Editor’s note: To read earlier responses to Gresham Riley’s article, click here.
The Light in the Piazza
In his review of The Light in the Piazza, Dan Rottenberg questioned a character’s medical condition: “We are led to believe that Clara is emotionally handicapped due to a childhood accident; but is that really the case, or is her arrested development the result of overprotective parenting?”
I think that ambiguity adds to the story. Think of it as a fairy tale, keeping in mind that Adam Guettel titled the closing song, “Fable.”
The magical aspects are tipped off in the opening scene, when Clara’s hat is blown off and just happens to be caught by a handsome young man who is standing in the right spot. I believe that the specifics of Clara’s malady are intentionally left vague, and that’s for the best.
This way, we may think of various circumstances that affect our lives and cause each of us to close ourselves off. Thus The Light in the Piazza is not about brain damage but, rather, about impediments of our own and about finding enough courage to take chances. This is what causes the musical play to affect viewers.
I recall the first time I saw Fiddler on the Roof, when nuns sitting alongside me exclaimed: “It’s so true!” They saw the play as more than the story of a milkman in Anatevka.
Steve Cohen
King of Prussia
December 1, 2009
I can’t understand how a theater work that reeks of sentimental mediocrity can get such uncritical accolades from theater critics, including in the two reviews here. Filled with clichéd acting and directing, and generally unengaging music, the play takes us down a bourgeois fantasy lane of incessant plucking of heartstrings with an incredible plot. The few moments when the mother broke out of her ploying acting and sang something close to a blues hardly saved the piece.
Is this our state of theater and theater criticism?
Jonathan Stein
Center City/Philadelphia
December 4, 2009
Editor’s comment: Please liberate yourself from the old media mindset in which critics operate as high priests, and dissenters (like you) have no option but to moan about “the state of theater criticism.” Here at BSR, anyone with insight can be a critic. Instead of complaining about someone else’s review, why not submit your own?
Cell phone adventure
“Reach out and touch someone,” by Reed Stevens, was charming, charming, charming!
Tori Warner Shepard
Santa Fe, N.M.
November 30, 2009
I love this woman’s writing, and I especially like this story for several reasons.
First, the tone: self-deprecating but totally in control of the
material.
Second, the subject matter, being myself a detester and non-owner of cell phones.
Third, the compassion.
Fourth: the ending— glug.
Keep punching from California.
Bob Ingram
Cape May Court House, N.J.
December 2, 2009
Oh Reed, you are such a good read.
Sunny Seabrook
Yountville, Calif.
December 9, 2009
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