#Minnegeddon — the underlying issue?

It seems everyone is dipping and diving, ducking and scurrying in the New Year to try to bring about some resolution to the ongoing angst at Orchestra Hall, certainly per this article: http://tcbmag.com/News/Recent-News/2014/January/Debate-Over-Orchestra-Hall-Lease-Continues

But is there an underlying issue that needs to be addressed before all this can happen?  Historically-speaking, it is my thinking that the name change from the Minneapolis Symphony to the Minnesota Orchestra should have raised a huge flag to anyone who has even the most rudimentary understanding of what the real Wolfgang Mozart was all about.  And that would certainly include SS, the conductor-laureate, who professes to “love Mozart” and oversaw this change. Even he acknowledged that it was not well-received by the players.  Did it not occur to anyone that there was a curious similarity between “Minnesota” and the wicked servant “Monostatos” in Mozart’s last major opera, The Magic Flute?  Hard to imagine that these professionals would miss that one.  Perhaps they were keeping their noses too close to the music on their stands to think clearly.  

Next, a female flute player appears on the scene, led by a handful of players, to practice on that stage.  Week-in and week-out, her playing soars throughout the building, as the stage is miked to be heard everywhere.  “Mozart!” “Mozart!” “Mozart” cries one of them, running around behind her as though looking for him to appear.  “The real magic flute,” hisses another, through clenched jaws, while also gritting their teeth. Did they then provide her with a proper introduction to their world of music?  No.  Instead, they decided to target not only her but her three small children.  They, in effect, “locked her out”.  

And so, some time later, the entire mechanism of this organization, with an endowment of nearly $200M has ground to a halt.  Will it snap back to life without a resolution of this issue?  If this information is true, must we not then ask just what happens to a band that tries to lock out Mozart?

Oh, wait.  Isn’t that exactly what did happen to Mozart in Vienna?  He believed the exquisite beauty and extraordinary composition of his music would provide him with a handsome and reliable income there.  But, was that the case?  No, his colleagues turned on him, and did their best to lock him out of commissions.  They also refused to acknowledge that there was something about his music that made it so different from their own that there was simply no basis for comparison — just as one cannot compare a perfect interval to a major or minor one.  And so, it is not unlikely that he was murdered because of this extra gift.  

So, in this case, everyone involved has, by now, received all the information they need to understand, if they choose, this issue.  Can this situation be resolved without first addressing it?  Will those involved continue to stonewall, or will they instead dare to address it?

 

 

 

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#Minnegeddon — the enigma…

For anyone sincerely interested in grabbing a clue to the rest of what may be happening with the MO/MOA situation, let me offer you two:

Mozart’s last major opera….

Mahler’s last words…

 

#Minnegeddon — Are Hensen, et al ‘vandal’s or not? s d reply…

“Henson, Campbell, and Davis are vandals, pure and simple.”

Just suppose for a moment that they are (also) dealing with something that happened behind their backs that may have involved one or more of the players that could have a significant effect on the public perception of the orchestra? Would ‘vandal’ still be an appropriate term?

http://www.artsjournal.com/slippeddisc/2013/10/minnesota-clocks-up-another-loss-this-time-its-global.html?replytocom=177552#respond

A challenge of defining MOA’s position on this, unfortunately, historic morning…s d reply

Well, let’s try…(this is observation, not my opinion)

When Mr. Vanska was hired in 2003 it was to take the MO to the next level as a top US orchestra with international status. At about that time the MOA also began borrowing money to make this vision happen. Although the MO received some stellar reviews, and played like champs, this was not enough to hold the attention of donors with money, so there were ongoing losses that threatened to drain the endowment.

With the rebuilding of the Hall, the MOA realized that this might be their one chance to put the MO back into a fiscally sound position. They probably hoped that the status and recognition already earned by the MO under Mr. Vanska would hold while they trimmed and streamlined everything to make a financially viable model for the long-term future. Having discovered how expensive having a world-class orchestra can be, they decided to err on the side of caution. They hoped everyone would support their new paradigm.

The players, however, believed their own press more than the MOA, and now, since they were ‘elite’, chose to hold their ground. They then did something, however, that was reminiscent of Diana’s attacks on the monarchy — they demanded full financial disclosure and moved toward demonizing the board, perhaps in hopes that the public would help them. This backfired, however, and MOA only fought back with additional ferocity. When would the players acknowledge the financial crisis the MO is in? When will they live in the real world?

http://www.artsjournal.com/slippeddisc/2013/10/breaking-osmo-vanska-says-i-quit.html

 

The unfortunate reality? s d reply…

It is ironic that everyone is getting an insight into just how the players think as a result of this prolonged lockout.  “Nice” is not part of the job description.  One of those players even said to me, “you have to have a killer instinct to succeed in this business.”  

http://www.artsjournal.com/slippeddisc/2013/09/strikebreakers-of-minnesota-start-to-feel-the-heat.html?replytocom=174231#respond