Music Dictator Wish List

[greg]

I would implement a law requiring all well-established orchestras (Berliners, Wiener Phil., Concertgebouw, LSO, LPO, NYPO, etc.) to schedule at least 5 works every season that have never performed by the orchestra performing it. For example, if the New York Philharmonic has never performed Szymanowski's Litany to the Virgin Mary and the principal conductor schedules it, then they must perform it. I think this will hopefully introduce audiences to some works that they've never heard before in a concert hall and have, otherwise, only been able to hear from a recording.

I'd ramp up the requirements: at least five works from the current decade.

These both are good ones. 

[amw]

I'd ramp up the requirements: at least five works from the current decade.

Honestly I'd just make a list of the 200 most frequently performed pieces of orchestral music and put a ten-year moratorium on them. Everything else would be entirely up to the conductor and orchestra.

[vandermolen]

Wondering whether or not I'm the only one here who enjoys waltzing?   

PD

I once had a nightmare (seriously) about being forced to do ball-room dancing.

[Pohjolas Daughter]

I once had a nightmare (seriously) about being forced to do ball-room dancing.

Sorry to hear that Jeffrey.  It's supposed to be fun.   

[Old San Antone]

Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory.  The trust fund would go towards commissioning and performance of new music by living composers.

[Brahmsian]

Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory.  The trust fund would go towards commissioning and performance of new music by living composers.

Ohhhhhhhh! That's a great one!

[Biffo]

Just like corporations can pay for their carbon footprint as a way of avoiding upgrading to more clean energy emissions, music performance institutions must pay into a trust fund every time they play a work from the classical standard repertory.  The trust fund would go towards commissioning and performance of new music by living composers.

So orchestras that are already cash-strapped should be compelled to pay into a fund in order to play the music their audiences want to hear. The fund will be used to commission works that will almost certainly be box office poison. Sounds sensible to me.

[Florestan]

Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."

[greg]

Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."

But that's why the thread is called "Music Dictator," not "Music President." 

[Brahmsian]

But that's why the thread is called "Music Dictator," not "Music President." 

You nailed it Greg. 

[steve ridgway]

Many of the propositions here boil down to "People should like what I like and dislike what I dislike and if they don't they should be forced to."

Absolutely not!

[Florestan]

But that's why the thread is called "Music Dictator," not "Music President." 

Of course and it's actually very interesting because it shows that even in the most peaceful and tolerant people lies dormant a dictator. 

[Old San Antone]

So orchestras that are already cash-strapped should be compelled to pay into a fund in order to play the music their audiences want to hear. The fund will be used to commission works that will almost certainly be box office poison. Sounds sensible to me.

Orchestras and other classical music institutions must pay licensing fees and rent scores and parts, as well as maintain their buildings, and entire campus, promote their concerts, pay salaries to their conductors and musicians, as well as all staff.  If they choose to primarily play music by dead composers, and not support the living generation of composers, they are helping to turn classical music into a museum of old music.

I think if they can afford all the other aspects of operating their institutions, they can add in a small fee to a trust fund to promote new music (presumably including works that audiences will enjoy).  These institutions are usually beneficiaries of either government subsidies or corporate gifts, or both. 

[Florestan]

Orchestras and other classical music institutions must pay licensing fees and rent scores and parts, as well as maintain their buildings, and entire campus, promote their concerts, pay salaries to their conductors and musicians, as well as all staff.  If they choose to primarily play music by dead composers, and not support the living generation of composers, they are helping to turn classical music into a museum of old music.

I think if they can afford all the other aspects of operating their institutions, they can add in a small fee to a trust fund to promote new music (presumably including works that audiences will enjoy).  These institutions are usually beneficiaries of either government subsidies or corporate gifts, or both.

Who will manage that trust fund?

There are hundreds of living composers. Who gets to decide who gets a commission and who doesn't?

What criteria are there to decide what audiences will enjoy or not?

Why not financing that trust fund directly from government subsidies or corporate gifts or both?

[Old San Antone]

Who will manage that trust fund?

A financial trustee.

There are hundreds of living composers. Who gets to decide who gets a commission and who doesn't?

A board of professional musicians, composers, institutional management, classical music publishers, venue representatives, and other stakeholders in the classical community, including non-professionals, i.e. audience representatives.  Much like any grant making authority or prize committee.

What criteria are there to decide what audiences will enjoy or not?

See above.  Presumably works which a majority of this board choose will have some appeal on a broader basis than a small cadre of avant-gardists.

Why not financing that trust fund directly from government subsidies or corporate gifts or both?

Because I think that classical music institutions that turn their backs on living composers and new music should have to pay for that lapse on their part.  IF they don't voluntarily support the creation and promotion of new classical music, they will be forced to support it through this trust fund.

Ultimately it would be enlightened self-interest, since it is only a matter of time before the old paradigm of playing exclusively music from the 18th and 19th centuries will age out of a sustainable audience.  Classical music needs to be enriched by new works and new voices in order to survive, IMO.  Or talented composers will choose other genres to realize their aspirations, leaving classical music as a museum of old works with dwindling support.

[greg]

Of course and it's actually very interesting because it shows that even in the most peaceful and tolerant people lies dormant a dictator. 

Yeah, "absolute power corrupts absolutely" lol.
(though i don't believe that is a 100% rule- some people have good restraint skills- it's a VERY strong tendency).

Decentralization of power ftw. Any steps in the direction of anarchy (that actually work) are the direction that should be taken, even though I of course know that pure anarchy might never work.

...unless the dictator has the same musical tastes as me, then I think pure totalitarianism is the most idealistic society.

[Florestan]

A financial trustee.

Nominated/elected by whom?

A board of professional musicians, composers, institutional management, classical music publishers, venue representatives, and other stakeholders in the classical community, including non-professionals, i.e. audience representatives. 

Same question.

Presumably works which a majority of this board choose will have some appeal on a broader basis than a small cadre of avant-gardists.

Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.

Because I think that classical music institutions that turn their backs on living composers and new music should have to pay for that lapse on their part.  IF they don't voluntarily support the creation and promotion of new classical music, they will be forced to support it through this trust fund.

Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.

Ultimately it would be enlightened self-interest, since it is only a matter of time before the old paradigm of playing exclusively music from the 18th and 19th centuries will age out of a sustainable audience.  Classical music needs to be enriched by new works and new voices in order to survive, IMO.  Or talented composers will choose other genres to realize their aspirations, leaving classical music as a museum of old works with dwindling support.

I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?

[ritter]

Nominated/elected by whom?

Same question.

Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.

Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.

I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?

Andrei, but surely you would know how dictatorships work...

Good evening to you.

[Florestan]

Andrei, but surely you would know how dictatorships work...

Good evening to you.

To you too, Rafael.

[Old San Antone]

Nominated/elected by whom?

Same question.

Which will result in composers writing works specifically for ingratiating themselves with the majority of your board.

Iow, The Academy of Ancient Music, Orchestre Revolutionaire et Romantique, Il Giardino Armonico, Concerto Koeln or any other ensemble dedicated specifically and exclusively to music written by dead composers should also play works by living composers, or else be fined.

I mentioned above some orchestras/ensembles dedicated exclusively to old music. What prevents interested people from forming orchestras/ensembles dedicated exclusively to new music?

Okay, you don't like my idea, put forward in a thread asking for this very kind of idea.  Last time I checked this was an informal Internet forum, not a steering committee for creating this trust fund and ironing out all of the details of its administration.  You have successfully beaten this small horse to death.   

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