Three Perspectives on Angela Myles Beeching’s Beyond Talent: Creating a Successful Career in Music

In mid-July, Orchestras Canada posted an opening for volunteer book reviewers on our Facebook page.

The idea?  That we could recruit people with particular perspectives to review books of potential interest to developing AND established Canadian musicians, strengthen our dialogue with friends and supporters, and—as a side benefit—get some great content for the OC blog, which has been languishing of late.

Compensation?  It’s sadly modest.  Our reviewers each got a copy of the book in question, and our heartfelt thanks.

Despite the terms, we were overwhelmed by the interest shown by our Facebook fans.  It was not easy to select just one person to review the first book we chose:  Angela Myles Beeching’s Beyond Talent:  Creating a Successful Career in Music, 2nd edition (Oxford University Press 2010).   So we didn’t.  Instead, we asked three people at different stages of their professional careers to read the book and reflect on it.

Our reviewers of choice this time are:

Alexis Anderson

Alexis Anderson is a Montreal-based freelance trumpet player pursuing an orchestral career.  After completing her undergraduate studies in performance at McGill University, she was accepted into the Masters program at the Royal Academy of Music, in London, England.  Two years of studying abroad has not only given Alexis the opportunity to work with some of today’s leading brass musicians, but has also given her an international perspective on the business of music.  She feels fortunate to be currently working with the Montreal Symphony Orchestra box office as they prepare for the opening of their new concert hall and their 2011-2012 season.

Pamela Hinman

Violinist Pamela Hinman is from Calgary, Alberta.  She studied at the Conservatory of Mount Royal College, where she was a member of the Academy program and received her Music Performance Diploma.  She continued to complete her Bachelor of Music Degree in Performance at the University of Calgary, and completed a Master’s Degree at the University of Toronto in Music Performance, graduating in December 2008. Pamela has been active in Toronto’s music scene since relocating here in 2004, performing with such groups as the Via Salzburg Chamber Orchestra and the Canadian Opera Company Orchestra.  As a violin teacher, she has taught at Branksome Hall, the Classical Music Conservatory, privately, and most recently with The Hammer Band.

Christian Sharpe

Christian Sharpe is a bassoonist who held a position in a professional orchestra for over 15 years before moving into orchestra administration. He wishes he read this book 25 years ago!

Our heartfelt thanks to Alexis, Pamela and Christian!  And now…their thoughts on Beyond Talent.

Alexis Anderson:

In Beyond Talent: Creating a Successful Career in Music, author Angela Myles Beeching has compiled the most pertinent information from the vast musician’s ‘self help’ genre into one useful reference tool that provides straight-forward advice on a broad range of subjects applicable to a musician’s career development.  The main topics covered include networking, self-promotion, recording, grant proposals, concert presentation, and time management.

Drawing from her experience as a career advisor to students at the New England Conservatory as well her background in performing, Beeching’s step-by-step instructions highlight her deep understanding of the music business.   She shares her wealth of innovative ideas for creating performing opportunities through an abundance of examples of actual performers she has advised.   Included are useful templates for promotional materials such as biographies, CVs, and press releases.

For the performer, reading this book is not only about becoming more business savvy through learning how to manage your own career.  Beeching prompts her readers to think about what it means to be an artist in a community.  Throughout the book are tips for finding ways to communicate better with today’s audiences.  Also addressed are the different approaches to teaching required depending on an individual student’s needs and interests.

For those pursuing orchestral performing careers Beeching’s ideas may seem limited to solo or chamber playing and teaching, but the information provided in this book is useful to performers of all genres of music. Surprisingly, while she uses many examples of orchestral musicians, she does not include a chapter specifically on orchestral auditions.  Also, although the information regarding tax filing and grant applications is rather specific to the United States, it still contains points useful to Canadian artists.

Although the book has been praised as an essential tool for the budding musician, it is equally useful for teachers mentoring emerging artists as well as for established performers seeking to expand their professional careers.  Following Beyond Talent’s instructions, readers will find the focus and direction they need to take their careers into their own hands.

Pamela Hinman

Look in the career section at your average “big box” bookstore and you will find books and career guides to help start and steer you down the path of almost any career you can think of.  However, when it comes to the career of a Classical/Jazz musician, books on this subject are rare.  In an industry which is probably one of the most difficult to navigate a career in, a book of any true value to someone trying to follow this path would be equally difficult to write.  But Angela Myles Beeching does so with flying colours.  I was sceptical at first, but I can now honestly say that I have been nothing but impressed with this book.

As the title Beyond Talent suggests, it isn’t just enough anymore to be a talented musician and play/perform well.  There are so many other skills necessary to put a successful career together in today’s music industry.  A book that can be read from front to back, or used as a pick and choose kind of field guide, it has something for musicians at all stages of their career. Sections on business etiquette, internet and social media, artist management, financial management, day jobs, media relations, networking, performance anxiety and more, are thoroughly and thoughtfully explored and supported.  From its organization and attention to detail, to its easy flow with interesting diversions and examples of many different musicians and musical endeavours, sample resumes, contracts and press releases, it remains coherent and to the point from beginning to end.  This book is a must for music schools looking to educate their students on more than just the art form, and for young musicians who want hope and encouragement in facing the intimidating task of making a life as a musician.  It is realistic, practical and honest.

Perhaps my favourite thing about this book is Ms. Beeching’s inquisitive approach, asking questions of the reader and reminding musicians of the importance of regular personal introspection as a kind of beacon for the choices we make in our careers, and that our lives as musicians are not as black and white as they once were.  The opportunities that we have to contribute our talents to the world are endless.

Christian Sharpe

If you’re like me, finding out that I loved music was a huge relief, providing a level of security as an adolescent because suddenly I knew what I was going to do for the rest of my life. I had a direction that gave me a confidence and assurance through the difficult years of high school, and even university. This was a path to follow, and it was easy, providing that I practiced and studied hard. Then came graduation and making a living, and suddenly it was hard!

For those musicians who don’t land a “big job” right out of university, or don’t play an instrument that is used in orchestras or aren’t interested in working full time in one, making a living in the music business is difficult and rife with traps and dead ends. After reading “Beyond Talent” by Angela Myles Beeching, I’m happy to report that there now exists a textbook for creating a career in music for anyone who is willing to put in the hard work that is required.

Ms. Beeching (who draws upon careers as a cellist and Director of the Career Services Center at the New England Conservatory of Music) views the musician as an entrepreneur. Her book is organized so that almost any musician can look at it, recognize a path that they are on, and find detailed instructions and suggestions on how to make that path a successful one. From writing resumes, to recording CDs, writing grants and fundraising, promoting yourself or your group, booking and running a tour and much more, Ms. Beeching provides a lucid argument for how it can be done. She even includes a section on personal finances and tax tips, and equally important, a chapter that deals with the many types of injuries that can waylay a musician’s career and the many resources that can be brought to bear to get you back in playing shape as quickly as possible.

I like how each chapter is set up with examples from musicians both composite and actual, with plenty of references, both in print and website form. You can see how actual musicians have put these principles into successful practice. At the end of each chapter there is a worksheet that walks you through the topic at hand, and then a very helpful “Suggestions for Moving Ahead” that asks you the questions that you will need to ask yourself to ensure success in your projects.

The author also realizes that readers will pick and choose from chapters that are applicable to their situation, and so repeats common topics in each section, for instance how to raise the money required for each project. This is useful; you don’t have to search around for where you read that particularly useful tidbit, and if you read the entire book by the end you will be an expert on those items that are common to each chapter.

The only drawback to this book is that it is directed primarily at an audience making a living in the US market; some of the information (particularly tax and medical) is quite US specific in its particulars, but the advice given therein is germane and easily applied to our own market with a little work on the reader’s part. Finally, I would have placed the very generic “5 Trade Secrets Revealed” at a point near the end of the book rather than at the beginning to prove that the principles within are applicable to virtually any entrepreneur; a large part of the charm of this tome is that it is so specific to a very specialized small industry for which little information exists. I was so excited by what I was reading once I got past this address (that she made to career counseling industry professionals from all fields) and into actual examples that I feel she could have left it out entirely!

I wish that there were a course taught in each and every music institution that included this entire book. In fact, it is a text book for that course, and should be a part of every musician’s personal curriculum. If you make it to the end of that course, and were to actually follow all of its precepts in your career, you’d also have a greater understanding of the many organizations with which a musician works in the course of their career, and could probably get a job in any one of them if performing for a living paled. You can do both, which is exactly the point of this book, and you will need to for your successful career.

 

2 thoughts on “Three Perspectives on Angela Myles Beeching’s Beyond Talent: Creating a Successful Career in Music

  • Matt: We’ve got a review of Tanya Tintner’s Out of Time: The Vexed Life of Georg Tintner planned for late September – and we will certainly be looking for more reading recommendations and more reviewers as the season continues (though this trio did a stellar job). Thanks for your comment!

  • Great work by all the reviewers! I definitely want to read this book, it sounds very relevant and timely. And I took a class with Ms. Beeching back when I was a student at New England Conservatory — I still have a big box of business cards I had printed for one of the assignments in that class.

    Thanks for the awesome idea, I hope you’ll do more book reviews!

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Orchestras Canada’s Next Generation Leaders program, now in its second year, is a competitive national bursary program designed to help talented future leaders with a keen interest in Canadian orchestras, and under the age of 35, to attend the National Meetings, and engage in in-depth conversations with senior leaders in the field. This year’s NGL participants include:

Emily Carr (Thunder Bay Symphony)
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Culture Track 2014: Examining the Evolving Behaviors of Cultural Audiences (Plenary)

Oakham House, Tecumseh Auditorium
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Presenters:
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Hil Moss, Associate Strategist

Respondents:
Elaine Calder, Executive Director, Shaw Festival
Robert Fraser, Chair, Organization of Canadian Symphony Musicians
Denny Young, Vice President, Development, Toronto Symphony Orchestra

Culture Track 2014 is the culmination of a decade of national research (fielded 6 times since 2001) that focused exclusively on attitudes, motivators, and barriers of culturally active audiences. LaPlaca Cohen built on existing research studies and dug deeper into what’s really driving or discouraging cultural participation. The findings include a new – broader – definition of culture, how people plan for and engage with organizations and with culture, and how people perceive an organization as worthy of participation or donation, among others.

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Long & McQuade Coffee Break

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Long & McQuade is the largest chain of musical instrument retailers in Canada, with 63 locations from British Columbia to Newfoundland. This means that if you’re a touring musician, you’ll have the benefit of dealing with a familiar store with consistent sales, supplies and service, no matter where your homebase is.

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Balancing Act: The Financial Health of Canadian Symphony Orchestras (Plenary)

Oakham House, Tecumseh Auditorium
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1:30-2:30 pm

Speaker:
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Perspectives on Recording and Digital Strategies (Panel Discussion)

Oakham House, Layton Room
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2:30-3:30 pm

Moderator: Randy Barnard
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Marie-Josée Desrochers, Director of Strategic Planning and International Relations, Artistic Department, Orchestre symphonique de Montréal
Rick Dunlop, VP Sales and Marketing, NAXOS Canada

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For the last 20 years, I produced concerts with professional orchestras across Canada. Known for strategic integration of innovative ideas and new technology, I helped create partnerships, develop audiences, and bring in new revenue. I love to connect with others who create intriguing projects and get things done. My favorite work identifies community need, creates lasting results, and engages new, young and remote audiences.

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Finding and Keeping a Younger Audience: What's working?

Oakham House, Tecumseh Auditorium
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Moderator: Renaud Legoux
Panelists:
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Tim Crouch, Marketing Coordinator, Tafelmusik Baroque Orchestra
Kimberly Raycroft, Senior Marketing Officer, National Arts Centre Orchestra

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Finding and Keeping a Younger Audience: Sponsored by TicketPro

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“Dean Artists Management specializes in the management of classically trained singers, conductors of singers, and opera stage directors/choreographers. Founded by owner Bruce Dean as the classical music division of The Talent House (www.talenthouse.ca), Canada’s most successful classical agency has branches in Toronto and New York. After twenty years in international arts management, we remain attuned to the trends of the opera and classical music markets, and to the visions of our colleagues and clients.

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Deepening Community Toward Strategic Engagement (Plenary)

Oakham House, Tecumseh Auditorium
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4:00-5:15 pm

Speaker: Paul Born

Paul Born, author, Ashoka Fellow, and President of Tamarack Institute will give a talk and lead a short workshop inspired by his recent book, “Deepening Community: Finding Joy Together in Chaotic Times”. In chaotic times like these we naturally reach out to each other for security, sense making and belonging. Many years of not really needing each other and over-relying on professional intervention to meet our individual and community needs have left us with diminished skills and resources for community. How can we build community in our lives, our organizations, and in the places we live? Paul’s powerful and often humorous stories provide concrete examples that inspire individuals to reach out to others and work together.

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Tanztheatre Wuppertal Pina Bausch: Kontakthof



Making its Toronto premiere and marking the 40th anniversary of choreographer Pina Bausch’s legendary Tanztheater Wuppertal, Kontakthof is the crowning achievement of her too-brief career. First staged in 1978, it has earned global praise as a masterful examination of the eternal battle of the sexes; wherein whatever harmony is achieved is ultimately scuttled because male and female forces are inevitably opposed. The setting is a drab dance hall, as separated groups of women and men slowly interact. The need, and quest, for not just intimacy but love ignites a spectrum of actions and reactions, sometimes angrily, often comically, always brilliantly.

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Critical Response Workshop (Plenary)

KPMG, 333 Bay St, 46th Floor
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Tim Yerxa
Sam Varteniuk

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Canadian orchestras and Federal Government Priorities

Moderator: Micheline McKay
Panelists:
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Thérèse Boutin, Orchestre symphonique de Québec
Brian Emmett, Chief Economist, Imagine Canada
Paul Wells, Political Editor, Maclean’s

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What can we do today to initiate positive change for ourselves, our orchestras, our community?

Facilitator-in-chief: Jane Marsland

Orchestras Canada’s new strategic plan is predicated on collaboration – the belief that better collaboration between orchestras will further the cause of orchestral music in Canada, enhance the resiliency of the sector, and make every orchestra stronger. We think OC has a key role to play in facilitating this collaboration – but we need your input!

This conference-closing session will begin with an open forum to confirm topics that you think are the most amenable to a collaborative approach, whether led by members or led by OC (Research and analysis? Collaborative artistic/education projects? Advocacy? Digital strategy? You tell us!)

Move into facilitated breakout sessions for in-depth discussions and rapid prototyping of the ideas your group finds most compelling, and conclude with a report-back to the plenary.

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MAGGIE HARTNICK

Associate Director, Strategy & Branding, LaPlaca Cohen

Maggie’s diverse experience in the fields of art, architecture, and design gives her a distinct edge for driving content direction, ideation, and strategic ideas for the cultural world. She has helped to direct messaging, marketing, and communications strategies for renowned national and international projects in the private and public sector that range from urban planning, museums, and performing arts, to education, hospitality, and interactive technology.

Maggie has been involved in the art and architecture world in a variety of ways, including journalism, teaching, curating, and advocating. Before joining LaPlaca Cohen, she was a Senior Manager of Content Strategy, Communications and New Media at the architecture and design firm, Rockwell Group.

Maggie received a MA in Art and Architectural History from The Institute of Fine Arts at NYU, and a BA in English Literature and Fine Arts from Amherst College.

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HIL MOSS

Associate Strategist, LaPlaca Cohen

With a background in both the performing arts and the global contemporary art world, Hil brings a diverse range of insights into the cultural landscape and the unique opportunities that organizations possess as they move into the future. Hil received a BA in Art History and a certificate in African Studies from Princeton University, where her undergraduate thesis focused on new models of collaborative art practice spearheaded by burgeoning artists in Kampala, Uganda—where she also assisted in planning for the development of the first multi-disciplinary arts center in the country. Prior to joining LaPlaca Cohen, she interned in the Deputy Director’s Office of the Solomon R. Guggenheim Foundation & Museum.

Hil sits on the Board of Trustees of the Princeton Triangle Club, the oldest touring collegiate musical-comedy troupe in the United States, in which she previously performed as an actress and served as the organization’s President

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ROBERT FRASER

President, Organization of Canadian Symphony Musicians

Robert Fraser (goes by “Bob” to all his friends) has been the bass trombonist in the Victoria Symphony since 1990. He holds a Bachelor’s degree in Music Education from Brandon University, a Licentiate in Trombone Performance from McGill University, and Master of Arts in Musicology/Performance from the University of Victoria.

During the 2005-06 season, Bob was acting bass trombonist of the Calgary Philharmonic, and held a similar position in the Winnipeg Symphony in the fall of 2009; in both instances replacing a musician on sabbatical leave. In addition to his work with the Victoria Symphony, he performs regularly as a trombonist in groups as diverse as the Palm Court Light Orchestra, the Festive Brass (at The Butchart Gardens), and Victoria’s own Renaissance wind band, “A Great Noyse” where he plays an array of wind instruments, including recorder, crumhorn and the ancestor of the trombone, the sackbut.

Besides the trombone, Bob is a chorister, singing with the St. Christopher’s Singers of Christ Church Cathedral, the chamber choir Vox Humana, and the eight-voice ensemble Raincoast Voices. He enjoys lecturing and teaching as well, giving pre-concert talks for the Victoria Symphony and occasional lectures on orchestral music and music history for various groups.

Bob has also worked as a long-time advocate for musicians, as Secretary-Treasurer of the Musicians’ Association of Victoria and the Islands (Local 247, CFM) from 1991-2002, and as Secretary of the Organization of Canadian Symphony Musicians (OCSM) from 2003-2013. In August 2013 he was elected President of OCSM.

Bob occasionally performs music with his wife, Ann, a violinist who specializes in early music. And when he’s not chasing his Abyssinian cat, Jack, around the house, he feeds his addiction to cryptic crosswords and Facebook.

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ELAINE CALDER

Executive Director, Shaw Festival

Elaine Calder is one of North America’s most experienced performing arts administrators. Between 1994 and 2012 Ms. Calder held executive leadership positions with the Canadian Opera Company, the National Arts Centre, Hartford Stage, the Edmonton Symphony and the Oregon Symphony, before returning to the Shaw Festival as its Executive Director in September 2012 – a position she held previously, from 1990 to 1994. She has led significant financial recoveries at most of these organizations, primarily by increasing attendance and earned and contributed income, rather than by cutting expenditures. She took the Edmonton Symphony to Ottawa for the NAC’s 2005 Alberta Scene Festival with a program of music by five contemporary Alberta composers, and produced its first recording of the music of John Estacio. Similarly, she took the Oregon Symphony to Carnegie Hall for its triumphant performance at the 2011 Spring For Music Festival, and produced its Grammy-nominated recording of that program, entitled Music for a Time of War. Despite her return to theatre she continues to love the symphonic repertoire and orchestral musicians and so far this year has attended concerts by the orchestras of Toronto, Hamilton, Buffalo, Rochester, Cleveland, Columbus, Detroit, Seattle and Portland, Oregon.

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DENNY YOUNG

Vice President of Development, Toronto Symphony Orchestra

Denny Young has held senior fundraising and communications positions in a number of sectors including health, social service, and the arts. He currently serves as a member of the senior management team of the Toronto Symphony Orchestra in the role of Vice-President, Development. In this position he has the privilege of working with a dedicated team of 14 staff and many passionate volunteers – all tirelessly engaged in developing support for the orchestra’s annual operations and building the TSO’s endowment.

A regular speaker and lecturer on nonprofit management, Denny is also a part-time faculty member at Ryerson University in the Nonprofit Management Program and at Humber College in the Fundraising Management program.

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RENAUD LEGOUX

Associate Professor, Marketing –HCE Montreal

Renaud Legoux is Associate Professor of Marketing at HEC Montréal. He received his PhD in Management with a concentration in Marketing from McGill University. He is the director of the Master in Management of Cultural Enterprises. Before his academic career, he worked as a manager for a professional theater company. His current research interests include arts marketing, consumer satisfaction, and sponsorship.

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JENNIFER BRYAN

Director of Sales, Toronto Symphony Orchestra

Jennifer Bryan has dedicated over 10 years of her life to arts marketing. After graduating with an arts degree in music, she quickly realized that the glamorous life of a jazz guitarist was not for her. After being taught by the best in the biz at Humber College, Jennifer learned the marketing ropes at Tafelmusik Baroque Orchestra and Chamber Choir. She has since spent 7 years at the Toronto Symphony Orchestra, and is currently Director of Sales, where she focuses on (and delights in) growing audiences and ticket revenue in this wonderfully challenging cultural landscape.

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PAUL BORN

Author, Ashoka Fellow, President of Tamarack Institute

Paul Born is the President and cofounder of the Tamarack Institute which since 2001 has provided leadership in Canada on issues of citizen engagement, collaborative leadership and community innovation. Prior to Tamarack, Paul Born was the Executive Director and co-founder of the Community Opportunities Development Association one of Canada’s leading community economic development organizations that were recognized by the United Nations as one of the top 40 projects in the world. He was elected into the world’s largest network of social innovators, as a Senior Ashoka Fellow in 2013.

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JUDY HARQUAIL

Program Manager, Ontario Performance Arts Presenting Networke

Judy has over 30 years of experience working in the performing arts. Her previous accomplishments include directing and executing touring activity for some of Canada’s most highly respected dance and opera companies, developing and executing strategic marketing campaigns and working in collaboration with an extensive range of arts organizations and arts professionals across Canada, the United States, and throughout the world. Amongst the many projects she is currently working on, she is Program Manager for Ontario Presents where she is responsible for the Ontario Dances and Theatre Connects program, the Audience Demographic Mapping program and CCI’s block booking program. She also has extensive experience dealing with all levels of government funding agencies having worked on contract for the Canada Council and the Department of Canadian Heritage assisting in the launch of the Arts Presentation Canada Program in Ontario. Judy is the 2007 recipient of the National Arts Centre award for distinguished contribution to touring and the 2011 Sandra Tulloch Award for Innovation in Arts and Culture in Ontario.

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SAM VARTENIUK

General Manager, The Registry Theatre

Sam Varteniuk is General Manager of The Registry Theatre, and Artistic Director of JM Drama Alumni. He has spent 15 years writing, directing, producing, and starring in stage plays, short films, and sketch comedy. Sam has worked extensively in the world of Drama Therapy/Theatre for Social Change, collaborating with mental health organizations, seniors’ communities, and newcomers to Canada to tell their stories; he recently embarked on another such collaboration with KW’s Extend-A-Family.

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DANIEL SWIFT

Program Officer, Music Section, Canada Council for the Arts

Daniel Swift, a conductor and a musicologist, was artistic director of two Canadian orchestras, and guest conducted ensembles and orchestras in Canada, Europe and the United States. He currently holds the position of Program Officer at the Canada Council for the Arts. At Orchestras Canada’s 2014 National Meeting, on Friday June 13, he will lead an ideas exchange session on support to Canadian composers and conductors as it relates to the orchestra milieu.

Conductor and musicologist Daniel Swift studied oboe and composition at the Conservatory in Trois-Rivières, music history and musicology at Laval University in Québec, and conducting with Pierre Dervaux and Jean-Pierre Jacquillat in Paris. He has been music director of l’Ensemble instrumental de Trois-Rivières, the Laval University orchestra and of the Ensemble instrumental des Jeunesses musicales du Canada (Montréal). Winner of the Heinz Unger Conducting Award in 1983, he was assistant conductor for Boris Brott with the Hamilton Philharmonic and Uri Mayer with the Edmonton Symphony Orchestra before becoming conductor and Music Director of the Saskatoon Symphony Orchestra (1984-1992) and of the Niagara Symphony (1999-2008).

A frequent guest of the Canadian Broadcasting Corporation (CBC) and Radio-Canada, Mr. Swift has regularly conducted concerts both for regional and national broadcast. He has also guest conducted numerous orchestras in Canada, the United States and Europe.

Particularly interested in the French repertoire, Daniel Swift directed in Paris and New York (1989), a revival of Francis Poulenc’s musical play Le Gendarme incompris, which he rediscovered during musicological research in France. He participated in the preparation of an edition of this work for music publisher Salabert. As well, he has recorded three ballets of French composer Henri Sauguet with the CBC Vancouver Orchestra on the SM5000 label. This CD entitled Parisian Ballets was unanimously recommended by music magazines in Japan, France and the United States.

Daniel Swift has also worked as Music Officer for the Canada Council for the Arts (1992-1999) where, through the years, he managed Sound Recording, New Music, Commissioning, Residencies, Professional Orchestras and Opera/Music Theatre programs.

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JEFF ALEXANDER

President and CEO, Vancouver Symphony Society

Jeff Alexander was named to the position of President & CEO of the Vancouver Symphony Society in September 2000. As such, he serves as the chief administrator for the organization, responsible for overseeing board, government and community relations, long-range planning, and day-to-day management for Western Canada’s largest performing arts organization and Canada’s third largest symphony orchestra with an annual budget of over $14 million.

Since his appointment, Alexander has worked closely with VSO Music Director Bramwell Tovey, the organization’s Board of Directors, musicians, staff and volunteers to strengthen every aspect of the organization’s artistic, fiscal, community, governance and administrative activities. With the implementation of a new strategic plan in 2002, subsequent updates, and a wide variety of new programs, the organization has experienced significant growth in subscription and single ticket sales, as well as individual, corporate and government support, resulting in a surplus on annual operations for nine of the last ten years.

Alexander has also supported a number of innovations at the VSO, including the reformatting, expansion and creation of concert series; significant growth in the organization’s educational and community programs and community partnerships; the use of video screens in the concert hall; the Society’s first endowment campaign ($10.2M raised to date); the purchase and implementation of Tessitura (the first orchestra in Canada to own and operate this integrated ticketing/fundraising software package developed by the Metropolitan Opera); the planning and implementation of an Asia-Pacific tour with concerts in Korea, Macau and China in October 2008 (the first international tour for the orchestra in 17 years); a May 2009 tour to Ottawa, Toronto, Montreal and Quebec City (the orchestra’s first performances in these cities in 33 years); a January 2013 tour to the U.S. West Coast (the orchestra’s first U.S. tour in 35 years) and the creation of the state-of-the-art 25,000 square foot VSO School of Music directly next to the orchestra’s home, the Orpheum Theatre, now home to over 950 students and 60 faculty members. The result has been a renewed spirit of support and admiration for the orchestra locally, regionally, nationally and internationally.

Prior to joining the VSO, Alexander spent sixteen years at the Cincinnati Symphony Orchestra, including twelve as General Manager. As such, he was the “second in command” for the sixth oldest and eighth largest orchestra in the United States, with an annual budget of $28 million. In this position, he managed an orchestra of 99 full time musicians, and was responsible for all elements of program planning, concert production, and orchestra relations. He participated in four master agreement negotiations; planned and managed 12 domestic tours, each with concerts in Carnegie Hall, and four international tours, with concerts throughout Europe and Asia.

Alexander was responsible for the production of over sixty recordings and seven national television programs for both the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra. He served on the Steering Committee which planned activities for the Orchestra’s 100th Anniversary Season in 1995; a 1998 Long Range Planning Task Force; and in 1999 the Music Director Search Committee.
Concurrent with the above, Alexander managed the Cincinnati May Festival, an annual choral festival founded in 1873 for which the CSO is the official orchestra.

Prior to being named General Manager, he served the CSO as Director of Regional and Educational Programs, overseeing all educational activities, and a series of orchestral and chamber music concerts in sixteen communities throughout Ohio, Indiana and Kentucky.

From 1982 to 1984, Alexander served as General Manager of the Laredo Philharmonic Orchestra in Texas and from 1980 to 1982 as General Manager of Grapa Concerts in New York City, an artist management firm specializing in organizing Latin American tours for North American and European soloists and ensembles.

Jeff Alexander is a graduate of the New England Conservatory of Music in Boston where he majored in French Horn Performance. He has been a member of the League of American Orchestras since 1984 and Orchestras Canada since 2000. He was elected to the Board of Directors of Orchestras Canada in 2001 and during the subsequent ten years served on its Nominating, Executive Director Search and Bylaw Review Committees, was Vice-Chair of the Board from 2005 – 2007, Chair from 2007 – 2009 and in 2010 chaired its Leadership & Professional Development Task Force. He has served on adjudication panels for the Canada Council for the Arts, British Columbia Arts Council, YWCA of Greater Vancouver and the Alcan Awards, as well as a member of the City of Vancouver’s 125thAnniversary Advisory Committee, and for six years the Vancouver Foundation’s Arts & Culture Advisory Committee.

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THÉRÈSE BOUTIN

President and CEO, Orchestre Symphonique de Québec

An experienced manager with a passion for culture, Thérèse Boutin (President and CEO of l’Orchestre symphonique de Québec) has worked in the arts, education and communications field for most of her 35-year career. Beginning as a journalist with CBC/Radio-Canada, she quickly leaped into the management field, working in media, public administration, education and music, in Ontario and in Québec. Additionally, Ms. Boutin has been a senior partner in a communications and strategic planning consulting company for the past 20 years.

A graduate of Laurentian University, where she obtained a BA in Political Science, Thérèse Boutin also holds a Master’s degree in Political Science from York University, a Masters in Public Administration from Queen’s and an MB from l’Université du Québec à Trois-Rivières.

A woman of action and dedication, she has been a member of various Boards from the Chamber of Commerce to the local Conservatory including schools, choirs community groups.

After leading a successful restructuring of the Orchestre symphonique de Trois-Rivières (2006-2013), she was named CEO of the Orchestre symphonique de Québec in May 2013.

She joined the Board of Orchestras Canada in November 2007, was its chair from 2011-2013 and is now past-chair. She has also been on the Board of the Conseil québécois de la musique.

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BRIAN EMMETT

Chief Economist, Imagine Canada (Charitable and Nonprofit Sector)

Brian Emmett is an economics graduate of the University of Western Ontario and the University of Essex in England, and has enjoyed a long and distinguished public service career. He was Canada’s first Commissioner of the Environment and Sustainable Development in the late 1990s and worked extensively on Canada’s Green Plan. He also served as Vice-President of the Canadian International Development Agency (CIDA) in the early 2000s and has been an Assistant Deputy Minister in a number of federal government departments. As the Chief Economists at Imagine Canada, Brian Emmett measures the impact of the Charitable and Nonprofit Sector and brings economic issues facing charities and nonprofits to the forefront of public policy decision makers.

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PAUL WELLS

Political Editor, Maclean’s

Paul Wells, political editor of Maclean’s magazine, has reinvigorated Canadian political writing for more than a decade. His career began in Montreal at The Gazette in 1989; in 1997 he became the Gazette’s national affairs columnist, and then moved to the National Post for its launch in 1998. In 2003, he joined Maclean’s, where he has won two gold National Magazine Awards for his writing on politics. A regular commentator for both English – and French – language television and radio, he is also the author of The Longer I’m Prime Minister: Stephen Harper and Canada, which won the Shaughnessy Cohen Prize for political writing and the John W. Dafoe Prize for Canadian non-fiction.

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JANE MARSLAND

Arts Consultant, Toronto Alliance for the Performing Arts and ARTS Action Research

Jane Marsland has been an articulate advocate for the arts for many years and has served on a wide range of boards, advisory groups and committees. Jane was co-founder and director of ARTS 4 CHANGE, a three-year program designed to create positive change for and by arts professionals in Toronto, as well as co-founder and Director of Technical Assistance of the Creative Trust: Working Capital for the Arts.

Ms. Marsland has managed arts organizations since 1970 and was General Manager of the Danny Grossman Dance Company from 1982 to 1999. Since 1999, Jane has been working as a free-lance arts consultant and has worked with more than 100 arts organizations. Currently Jane is working with the Toronto Alliance for the Performing Arts and ARTS Action Research on a new community initiative, Theatres Leading Change Toronto involving 18 small and midsized theatre and dance organizations.

She has been the recipient of two arts community awards: a “Harold’ in 2001 and the Sandra Tulloch Award for Innovation in the Arts in 2002. In 1995, she received the first M. Joan Chalmers Award for Arts Administration for outstanding leadership in the arts. In 2011, she was the winner of the Toronto Arts Foundation’s Rita Davies and Margo Bindhardt Cultural Leadership Award.

In January 2012 Jane was awarded the first Metcalf Foundation Innovation Fellowship in the Arts to examine Shared Platforms and Charitable Venture Organizations and their applicability to the performing arts sector in Ontario.

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RICK DUNLOP

Vice President Classics and Jazz – Naxos of Canada (2004 to present)

Some highlights

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