There have been a spate of articles recently on the stalemate of the MOA and the locked-out players. Here is just one:
http://www.polyphonic.org/2013/12/12/another-missed-opportunity/
Unfortunately, all of these articles seem to have been written from a mindset of thinking ‘inside-the-box’. Everyone is fretting and worrying about the “Minnesota Orchestra” and its players. This is all fair and good — however, it seems to be only part of the picture.
As I have stated in other posts, when the MO decided the name “Minneapolis Symphony” no longer suited its needs, despite the fact that it had gained worldwide aclaim under it, everyone involved in making this decision should have done their homework. Especially the now-conductor-emeritus SS, who undoubtedly has a detailed understanding of music and music history. Apparently, nobody bothered to take anything but a superficial, if any, look at a profound mystery that could be impacting itself on this state, as symbolized by the name change of the orchestra.
Why was Wolfgang Mozart’s life cut short in such a dramatic and unexpected way? Did he die a natural death, or was he, perhaps murdered? Why was there always so much conflict around Mozart and everything he did? Why, no matter how hard he tried, was he unable to be treated as anything other than the ‘bad boy’ of classical music — almost universally disliked and disrespected? How could one man be at the center of what seemed to be such a vicious vortex?
Ironically, another product with a connection to Minnesota attempted to explain this — the sardonic, sarcastic and even contemptuous portrayal of Wolfgang Mozart in the 80’s movie “Amadeus”. It was Sir NM, who was, at the time, director of the MO, who was responsible for the sound track for that movie.
One might get the impression from “Amadeus” that Wolfgang Mozart was dead and gone, never to be a bother again. And good riddance, one might add. But again, as I say, that may be a very superficial view.
It is my thesis that the name change from the MSO to the MO heralded a new era, not just in the history of this particular orchestra, but in that of classical music itself. All the angst and apparent death pangs of the last fifteen months, however, may, instead, be indications of a new and exciting time for everyone involved.
Just a thought to consider…
Le Chant du Rossignol...(song of the nightingale) 