Excellence in Fundraising in Canada is organized by fundraising topic, including strategic planning, major gifts, online fundraising, board governance and communication, special events, and capital campaigns, etc. This is not a niche book specializing in Canadian discrepancies to supplement traditional (i.e. U.S.) fundraising books. Rather, this is a comprehensive fundraising textbook from a Canadian perspective. So while trends, examples, and tax and privacy laws are based on fundraising in Canada, the principles would be valuable to fundraisers across the globe.

This book aims to be all-inclusive in fundraising topics and, as such, is an excellent first stop for any fundraising questions. Each chapter concludes with a section on where to go for further information. So, if you want to dig into, say, monthly giving, Excellence in Fundraising in Canada will be an excellent place to start, and will point you in the direction of how to continue. While all chapters provide great basic information and serve as at least a starting point, some are more detailed than others.

In some cases, I would like to see more specifics. For example, while the chapter on data management has thought provoking points around what sort of data should be captured and measured, how to determine an organization’s needs, and what to look for in a database, I would also benefit from seeing specific database programs analyzed and rated for their efficacy, unique capabilities, pros, cons, and price. Similarly, specific examples of what a great (or not so great!) grant application might look like would also be helpful.

On the other hand, I find the discussion of the board’s role in fundraising to be very robust. This section builds the case for the board to be involved in fundraising, and does so by using the specific language that can be used when speaking with the board or other stakeholders. The case starts out by stating that the board is legally responsible for all of the organization’s actions, specifically for ensuring that it is complying with laws, staying on track with the mission and strategic direction, and is financially healthy. Next, if fundraising is a “mission critical” revenue source for an organization, then it warrants a strategic approach and an application of all available resources. The board’s approval of and engagement in the fundraising strategy is then a governance responsibility of great importance.

All in all, this book is extremely useful and has earned a permanent space in my office. I’ll leave you with a succinct quote in the book that hits home the age-old why people give and clarifies the role of fundraising—keeping this top-of-mind will inform not only how and to whom asks are made, but also how budgets are set: “Nonprofit organizations exist to fulfill community needs. People do not give because an organization has needs. They give because your organization meets needs.”

Bio

Emma Penick, Director of Development, Symphony Nova Scotia

w: (902) 421-1300 x228 m: (902) 441-0835 development@symphonyns.ca

Emma Penick has been involved in development and programming for organizations in the corporate and not-for-profit spheres for the last 10+ years. Most recently, Emma worked in development at Sing for Hope, a New York-based non-profit whose claim to fame is having staged the nation’s largest public art project: 60 painted pianos outdoors for two weeks throughout New York’s five boroughs for all to play. Emma’s background in business includes having been an Associate at Mercer Management Consulting. She also founded EBP Literary Agency. She holds an MBA from Harvard Business School and an A.B. in Sociology from Princeton University. She is originally from Halifax and joined Symphony Nova Scotia in 2010.

When Orchestras Canada asked me to review this book, I was thrilled to gain access to something that I might be able to put to work in my new job with the PEI Symphony Orchestra, and potentially in my personal and family life as well. I generally like ‘self help’ books, and was interested to see if and how this book might speak to my own experience.  The subtitle of this book also intrigued me, as we are certainly going through times of uncertainty and chaos in the arts world – not to mention the world of my family and our life onPEI!

According to his website (http://www.jimcollins.com/), Jim Collins is a student of enduring and great companies.  He’s written several previous books, including the bestsellers Good to Great and Built to Last.

I was concerned, when I started Great by Choice, that I might need to have read his previous books to fully benefit.  In truth this didn’t really become a problem until the epilogue, in which the research findings in this book were compared with those that inspired his previous books.

Overall, the book is easy to digest, only occasionally dry enough to induce sleep, and generally quite entertaining. Collins compares pairs of companies in the same business, one of which was a huge winner in the period of time studied, and one of which faltered.  He then considers what might have contributed to the success of the “winning” companies vs. their comparison companies. His approach is data-driven, and some of it is a bit dry–but there are also comparisons against real life situations (as much as climbingMt.Everest or journeying to the South Pole can be real life), which I found very interesting. And each chapter has a closing summary, which means that you can easily get the gist of the chapter if you’d lost your way earlier.

I don’t think that Jim Collins has come up with any earth shaking revelations.  Instead, he’s summed up a few universal messages in a single location:  great companies are led by great leaders who are willing to take calculated risks AND plod steadily through life with long term success on their minds. I enjoyed the concept of “productive paranoia”:  stockpiling resources for times when things might be leaner than you would like, while still making sure you research and produce new products to keep your organization ahead of those around you. I also enjoyed the concept of the “20 MileMarch”:  by putting one foot in front of the other, day by day, month by month, and consistently executing regardless of the conditions encountered, you will always see progress. A good metaphor for my New Year’s weight loss resolutions as well!

Natalie Williams Calhoun

Administrator,PEISymphony Orchestra

Natalie Williams Calhoun is a cellist, Administrator of the PEI Symphony Orchestra, and a recent arrival toPrince Edward Island.  She is mother to 3 year old Lucas, a private music teacher in theCharlottetownarea, and moonlights as an examiner for the Royal  Conservatory of Music.

I don’t, as a rule, like recipe books unless they deal with food… and this book is no exception.   The word “recipe” first appears on page 128 and is used repeatedly in the last 50 pages of the book.  Of the 304 pages, at least 120 are dedicated to references, an index, “frequently asked questions” and “research foundations”.

After the first ten pages, I had enough.  But I laboured through until the end, having promised to deliver a book review by the New Year.  When I am given homework, I do it![1]

So, what is this book about?  Great by Choice is a comparison of 7 companies that succeeded (what Jim Collins called “10xers”) and 7 “comparison” companies that didn’t, based on three criteria:   the winners sustained 15 years of spectacular results relative to the stock market and the industry in general; these results were achieved in spite of a turbulent environment (for example 9/11); and finally, the rise to greatness is closely associated to the businesses’ vulnerability because of their size or age.  The authors write having sifted through documents of 20,400 companies to identify the winners and the losers.  Good empirical research, in short.

And what are the ingredients in this so-called “recipe” for greatness?  Discipline with a fair dosage of creativity; scaled innovation; good decisions (and not necessarily fast ones); stability; paranoia; and yes, luck.  At the centre, sits what the authors call “level 5 ambition”… and you have to have read Collins’ other best-sellers to know what that means.

The stories and anecdotes are numerous and interesting, from the adventures of Roald Amundsen who first reached the South Pole to Bill Gates’s paranoid memos to his staff.  They talk of performance, intelligence and friendship, necessary ingredients to attain success, be it personal or company-wide.

I did not like the book but it doesn’t mean it’s not a good one.  If as a manager you tend to be inspired by empirical research summarized in very digestible language, with clear illustrations and extensive references, then go for it.  You’ll be well-served if you invest a few hours to see how others have beaten the odds because they were strategic, disciplined and creative (as well as lucky and possessed of good timing).

As for me, I have left the book on a public bench for someone else to pick up.

-          by Michael M. Kaiser, Brandeis University Press, ISBN 978-1-58465-906-8

– a book review by Paul Inksetter

Paul Inksetter has been the General Manager of the Thunder Bay Symphony Orchestra and the Executive Director of the Winnipeg Symphony Orchestra. He is currently the Chair of the Board of the Thunder Bay Symphony Orchestra.

Read this book. Have all the members of your Board read this book. Have your General Manager/Executive Director read this book. This book offers the most concise, most cogent, most penetrating analysis of arts organizations, how they function and how the role of the Board of Directors is crucial to the organization’s health, that ever I have read.

I began with yellow marker in hand to highlight the most salient points as I read. I gave this up early on, as I was painting the whole book yellow. So I started over, this time highlighting only those really really major essential important points, and still wound up with two or three on most pages.

The author’s basic point is that the board – engaged, aware, focused, knowledgeable, accountable – is vital to the health of any arts organization. Examples are drawn from the worlds of symphony, theatre, ballet, opera, art – each with its own unique challenges, but each able to use the same essential principles to guide the organization through various stages in its evolution, and to steer it through the inevitable occasional crisis. The essential commonality is an unwavering focus on the mission of the organization, and that organizations thrive when their mission is clearly stated and consistently implemented, and they produce great art.

You will see yourself, your colleagues and your staff in this book. You will encounter examples that remind you of your own organization. You will have flashbacks to board meetings and planning retreats you have attended. And you will not find any silver bullet, any magic formula that will make your many challenges disappear. What you will find is a logical, sensible, structured set of procedures you can follow to analyze your organization, assess its strengths and weaknesses, and plan a way forward that augments and builds on your strengths and minimizes the impact of your weaknesses.

The book is structured as a series of 50 questions, grouped into twelve themes, with one to twelve questions per theme. The section on Board Governance has twelve, addressing everything from term limits to new member recruitment, with interesting observations on both; the section on Boards in Crisis has but one, explaining clearly why you cannot cut and save your way out of your crisis, and how you must incrementally work your way through it, without compromising your artistic mission.

This thematic approach keeps you focused on one topic at a time. Most questions begin with an analysis of a problem or situation, which you will, I assure you, recognize. The author then proceeds to analyze several typical approaches to the given situation – once again, you will recognize these – and explains why so many approaches are doomed to exacerbate the situation. He then proceeds to logically and systematically put together an approach that is more likely to succeed. What many of the answers have in common are: a relentless focus on organizational mission, an insistence on rigorous, logical planning, and a firm conviction that great art, great programming and great marketing are the keys to organizational success. What you will take with you from this book is a much clearer understanding of the role of the board and staff, and how in working together they can keep your organization vital and healthy, both artistically and financially.

– 30 –

By: Tanya Buchdahl Tintner

2011 University of West Australia Publishing, 421 pages

The classical music world lost a true master of the podium with the passing of Austrian conductor Georg Tintner (1917-1999). Those who had personal contact will recall Maestro Tintner’s kindness and humility, while those familiar with his recordings on Deutsche Schallplatten, Naxos, Philips and others can trace a pathos in his music-making that is both humble and provoking. What seems lacking in the ensuing years after his death is a written reminiscence on this enigmatic figure. It is timely that the conductor’s third wife and widow, Tanya Buchdahl Tintner, herself a cellist and music writer, fulfills this daunting task with her authoritative biography. “When it was over I realized that I hadn’t known him nearly as well as I had thought and I set out to find him. It has taken me many years to piece his life together (p.2).”  With over 10 pages of references, 34 pages of rare photos, and over 200 interviews conducted, Out of Time – The Vexed Life of Georg Tintner is a tribute to the legacy of a fallen musical meteor.

Divided into four parts, Buchdahl-Tintner provides a vivid account on Tintner’s periods in four continents – Europe, New Zealand/Australia, Africa, and lastly, Canada. A devoted vegan, a generous human-being, and a man of strong will, Tintner is best remembered for his efforts as a composer, his merits as a conductor and his unparalleled lifelong contributions as a music coach and lecturer.

As a student of Joseph Marx in composition, Tintner’s creative spur blossomed during his early-to-mid career from 1930-1970s. Influenced by the late Romantics such as Scriabin and Richard Strauss, these include over a dozen of songs (e.g Frühling^*, 1936), vocal (e.g. Tanya’s Fugue, 1975), solo and chamber works (eg. Violin Sonata in A, 1944; The Ellipse, 1959)^*; a selection of which was recorded by Cho Liang Lin and Helen Huang on Naxos (cat# 8.570258).

As a student of Felix Weingartner in conducting, Tintner belonged in the same league as de Sabata^#, Furtwängler, Horenstein, Klemperer, Toscanini^# and Walter. He was noteworthy for his baton-less conducting technique that was communicative, and was blessed with absolute pitch and a memory capacity second to none. As a recluse who identified few as his “true friends,” Tintner maintained lifelong friendships with artists as David Helfgott, Denis Matthews, and Hephzibah Menuhin. Throughout his life, he collaborated with a roster of luminaries as Jorge Bolet, Rudolf Buchbinder, Philippe Djokic, Alicia de Larrocha, Ross Pople, Menahem Pressler, among others. To this day, Tintner is acclaimed by his wide array of interpretations, ranging from Beethoven to Brahms, Bruckner to Berg^. Similarly, he remained a strong proponent in contemporary music, as documented in his recordings on works by the Australian Douglas Lilburn (Naxos, cat # 8.557244) and Canadian Oskar Morawetz (CBC Records, cat # PSCD-2027-5), to name a few.

Finally, Tintner, until the very last years of his life, continued as an avid music educator, conductor and choral coach. Perhaps, he is best remembered for his tireless dedication and inspiration, especially to members of youth orchestras. Remarkably, his wholesome energy with the National Youth Orchestra in Canada since 1971 cannot be dismissed, as exemplified by this quotation from a student: “…I had never really seen or met a person like this before, and no description would have such a profound effect on me as Mr. Tintner in person, really did. His total dedication to the art and humanizing of that same thing set a great example to me. He is a great conductor, and I love NYO for bringing him to conduct us (p.233).” Likewise, Tintner’s encyclopaedic knowledge can also be appreciated by audiences who had the fortune to attend his lectures. For example, his faculty and scholarship in the music of Bruckner and Mahler, in particular their psychology, relationships and roots to humanity, can conjure a spirit as novel and vibrant as the famous Norton Lectures delivered by Leonard Bernstein.

What would have given additional resource to this biography would be a discography and videography, particularly the latter, which is rare even at the expense of convenience of the internet today. For those who are interested in a selected discography, please visit a special page on Georg Tinter made by Naxos here.

In summary, Buchdahl-Tintner writes lucidly throughout her biography, with an interchange between first and third person speech as the context demands. She provides speculation, supported by evidence, to an important question that hovers over the legacy of Georg Tintner – why, despite his artistic talents, was Tintner never able to achieve the recognition he rightfully deserved, but only until the latter part of his life? Did fate leave out one of its wonderful children or was there a flaw behind Tintner the artist that was to blame? Buy and read this wonderful biography, Out of Time – The Vexed Life of Georg Tintner, and the answer will surely capture your widest imagination behind this musical meteor.

By: Patrick P.L. Lam

__

^*Tintner considered these to be his most important compositions (pp.59, 71, 143)

^#Tintner had the greatest admiration for these two Italian conductors (pp. 32-34; 330)

^{^}Tintner undoubtedly considered Beethoven’s Fidelio to be his favourite opera, while the first tune of Mozart’s Minuet and Country Dance K.463 No.1, the second tune of the Adagio of Bruckner’s Seventh Symphony and the beginning of Schubert’s Ninth Symphony among his most favourite melodic tunes (p.143). The Minuet and Country Dance was performed at Tintner’s funeral (p.385).

Patrick is currently a postdoctoral fellow at the University of Toronto undertaking research in Diabetes and Gastroenterology. He is determined to complete a clinician-scientist track in Medicine to merge his academic interests from the bench to bedside.

Patrick holds the A.R.C.T. diplomas for Performers and Teachers from the Royal Conservatory of Music in Toronto. For the past decade, Patrick is recruited as a freelance music critic and writer to both local and international publications, where his articles have been quoted by colleagues, merchants, and institutions, such as the HKPO, Arkivmusic and Opus 3. Patrick is the contributing founder of the Toronto Mahler Society and the Gustav Mahler Society of Hong Kong. For all comments and questions, please contact Patrick at: hkpat@rogers.com

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.

Essentials of Orchestra Management, New York City, January 5 to 14, 2011

This is boot camp for people in the orchestra management world.

For me, the start of this year is filled with an intensive, ten-day, ongoing conversation about orchestra management in New York City.  The course is presented by the League of American Orchestras in their New York City headquarters.  The program is billed as boot camp for those in their first three years of orchestra management, those interested in making a career change into arts management, and musicians who are interested in switching from performance to management.

I am currently in my third year as the executive director of the Winnipeg Symphony Orchestra.  Although I have been working in the arts management field for over twenty years, I am discovering that there are many aspects of orchestra management that don’t comfortably fit many of ways I have been trained to work at my arts management positions.   Several things attracted me to register for this program.

1. I have all sorts of questions about the logic and rationale for certain approaches to orchestra operations and management that I want to check with others in the field.
2. This is a good time of year for me to take some time for these purposes, the WSO musicians are on vacation after the holiday Nutcracker and New Year’s concerts, and we have several weeks before the 20^th New Music Festival begins in Winnipeg.
3. The listing of instructors for this program seemed strong, and the opportunity to hear the stories and advice of this august grouping of orchestra management professionals seemed too good an opportunity to pass up. The lead instructors are Brent Assink, Executive Director, San Francisco Symphony Orchestra and Deborah Rutter, President and CEO, Chicago Symphony Orchestra.  (They are both very generous with their knowledge and so committed to professional development and the advancement of this field of management, it is truly worth enrolling in the program just to listen to them talk about their experiences in this field.  They are just the start of riches of expertise in the orchestra field that have made themselves available for this program.  It is a bit astounding really.  So far we have encountered Alan Gilbert, who is the music director of the New York Philharmonic, and Michael Gilbert, Alan’s father, who was the concert master of the New York Philharmonic; Naomi Grabel, marketing director of Carnegie Hall; Ara Guzelimian, who is the Provost and Dean of the Julliard School came to lead us in a series of listening exercises; and tomorrow we discuss the relationship with the music director.
4. In some ways, the program seemed directed to younger people seeking input into career choices, and that may be the case.  (I do appear to be one of the more aged participants in the program.)  On the other hand, I have learned that there is huge value in asking questions of qualified people whenever the opportunity is available, and although some people may think that a person who is executive director of a major orchestra should know everything that there is to know about orchestra management, I’m finding that the longer I work at the WSO the more questions I have about the best ways to proceed on many fronts.

At the conclusion of day three of the program, I am happy to report that I was correct in my feeling that there would be much I could learn from the people gathered to present and share information for this program.  The pace is quite frenzied, with full days of speakers and exercises and some days evening concerts and post-concert receptions with managers, conductors, and guest artists. If anything, I am amazed at the quality and level of the instruction and interaction we are experiencing.

So far, I would have to say that I strongly recommend this experience for any Canadian orchestra managers who want a full immersion experience in the arcane details of orchestra management. The application process is somewhat complex and entails writing a series of essays on topics related to orchestra management.  Apparently, the selection process was very competitive, but I don’t know how many people applied for the 30 spots in the program.

Today’s highlights were a session with the marketing director of Carnegie Hall, which presents 150 concerts in 7 series annually, and is a rental venue for 800 additional events.  We also had the opportunity to speak with Charles Hamlen, Chairman of IMG Artists about the relationships of orchestras with musician management.  Brent Assink presented an interesting seminar on board governance.  (San Francisco Symphony Orchestra has an 85 member board with average donations of $23,000 per board member.)   Several of the speakers from the Los Angeles Philharmonic Association know Alexander, the WSO’s music director. Yesterday I was thrilled to meet Zarin Mehta, the President and Executive Director of the New York Philharmonic Orchestra.  He was very encouraging to all the young orchestra managers, and I was pleased to note that he was wearing his Order of Canada pin.

So, for me, 2011 is starting with a different kind of southern break.  It all feels quite balmy and warm to me here in New York after a chilling cold holiday week in Winnipeg, but for most of my program colleagues, just the presence of snow is a major news flash. Many of them from the southern states have never really encountered snow. These are my initial impressions of this program, and I should stop doing this and get to work on my assignment for our case study on the Essentials Symphony Orchestra.

Trudy Schroeder, January 7, 2011

Our sincere thanks to Kitchener-Waterloo Symphony Director of Education Christopher Sharpe, who prepared this report for us!

—

Since 2009, the Kitchener-Waterloo Symphony (KWS) has partnered with Kitchener Pathways to Education to provide a music component to Pathways’ successful after-school programs.  Pathways to Education Canada is a charitable organization created to reduce poverty and its effects by lowering the high school dropout rate and increasing access to post-secondary education among disadvantaged youth in Canada. The Pathways to Education Program is a proven effective model, first created and implemented in 2001 in Regent Park by the Regent Park Community Health Centre.  The Pathways to Education Program provides four key supports to ensure that young people will successfully complete high school, continue on to post-secondary programs and become actively engaged in their career development. The four supports are:

Academic - Tutoring in five core subjects, four nights a week

Social - Group mentoring for grades 9 and 10, specialty and career mentoring for grades 11 and 12

Financial - Immediate financial support such as free bus tickets tied to attendance and a bursary for post-secondary education (up to $4,000 per student in the program)

Advocacy - Student-Parent Support Workers help connect teens, parents, school administration, teachers and community agencies

Pathways was established in Kitchener in 2007 and currently provides services to over 300 students and their families.  Two Kitchener neighbourhoods have opened their doors to the Pathways to Education Program. Both communities are diverse, with a wealth of languages and cultures represented among the participants. The two neighbourhoods, both of which are in the south-central core of Kitchener, have a high percentage of families living in public housing and new Canadians settling in the areas. Most importantly, with two of the highest dropout rates in Kitchener, the families in these neighbourhoods are eager to see the program succeed in their communities.

The initial idea of creating a music program component within Pathways came from Patrick Murray, a high school intern who had worked with both organizations and saw a connection.  With the blessing of Megan Conway, Director of Kitchener Pathways to Education, the KW Symphony offered a summer workshop to discover the activities the students were most interested in.  The KWS team then designed a program with the following features:

-  guest passes for Pathways students and family members  to select KWS concerts
-  music appreciation workshops
-  free weekly music lessons with professional teachers from the KWS and the community
-  free loan of music instruments
-  performance opportunities at the Conrad Centre for the Performing Arts and in the community

In 2010, 30 Pathways high school students are currently studying violin, cello, piano, guitar, percussion  and voice with professional instructors from the KWS and the community. All lessons and performances take place at the Conrad Centre for the Performing Arts, the new administration and education headquarters for the KWS in downtown Kitchener.

Pathways to Education evaluates the program each year through in-depth surveys of the teachers and students so that the program can be improved each year.   The KWS hopes that the program can expand to the point where siblings of the Pathways students can receive the same music education and opportunities. As well, it’s a KWS goal that all students studying an orchestral instrument reach the level where they can participate in one of the 5 ensembles in our Youth Orchestra Program. This would open up many new opportunities to the students as they receive more advanced training in working with ensembles that rehearse and perform on a regular basis.

The KWS Pathways program receives generous funding from individual donors and corporate donors who appreciate how this program helps remove barriers to public access to music education.

If you would prefer to read Mr. Cameron’s address click here.