Constituency Liaison: James Barry email@example.com
Monday, June 3
Behind the Curtain: The Music Director Search
Mockingbird 2, Level Three
Hiring Guest Conductors (3pm - 4pm)
Description: A conversation with Mark Volpe, President and Chief Executive Officer, Boston Symphony Orchestra & Matthew Oberstein, Vice President, Manager, Artists & Attractions, Opus 3 Artist
Current Issues and Topics (4pm - 5pm)
Description: led by Julius Williams, president, Conductors Guild Inc. & Christopher Blair, president-elect, Conductors Guild, Inc
Tuesday, June 4
Schermerhorn Symphony Center, Maestro's Studio
Score study with Giancarlo Guerrero
Bring your copy of Tchaikovsky Symphony No. 4 for an intimate discussion about the score with the Nashville Symphony’s music director, Giancarlo Guerrero. To join the meeting, please meet promptly at 8:45am at the NOTE CORRECTED MEETING LOCATION corner of Demonbruen St and 4th Avenue South, in front of the recording angel at Schermerhorn Symphony Center.
Cumberland 5, Level Three
The Maestro Mash-Up
Maestros are multi-taskers, and many have music directorships with orchestras both within the USA and across the continents, from the Americas to Europe, from Asia to Australasia. So what are the benefits for orchestras that share a music director? Much like sister cities, can deep ties be forged that add value to the relationship? Facilitated by Mark Pemberton, director of the Association of British Orchestras, Maestro Giancarlo Guerrero will join Alan Valentine, president and CEO, Nashville Symphony and Natalia Klingbajl, manager of the NFM Wroclaw Philharmonic Orchestra, to talk about his role as music director of both orchestras, and how it has helped generate connections between them.
2:30pm - 3:45pm
Broadway J-K, Level Two
Diversifying Your Audience Through Innovative Programming
Description: One of the most exciting new developments in recent years has been the emergence of independently branded program offerings such as Sensorium (San Francisco Ballet), Pulse (New World Symphony), SoundBox (San Francisco Symphony), Liquid Music (St. Paul Chamber Orchestra), Sleepless (The Music Center), and many more. A marriage of sophisticated branding and innovative programming, branded series and formats are renewable assets that can be exploited artistically and financially over time.Increasingly, younger and more diverse audiences opt into branded experiences without knowing program details, sidestepping many of the familiar barriers to attendance. We will take stock of current efforts to attract new audience segments through branded formats and series that promise—and deliver—a distinctly different experience. And participants will gain an understanding of the powerful link between branding, programming, and engagement while learning considerations for planning and investing in this type of programming.
Speakers: Alan Brown, principal, WolfBrown
Broadway G-H, Level Two
Auditions, Identity, and Culture
Four musicians of color, each leading and giving shape to the national conversation on race and ethnicity in orchestras, reflect on their audition experience, with and without screens, and on their paths navigating orchestras’ predominantly white, Western European culture.
Speakers: Alex Laing, principal clarinet, Phoenix Symphony; Shea Scruggs, consultant; Weston Sprott, trombone, The MET Orchestra
Wednesday, June 5
Broadway C, Level Two
Copyrights and Music Licensing: Practical Considerations for Orchestras
Copyrights, Commissions, and Music Licensing in Today’s Music Industry – What does a 21st century music publisher do? Who controls music rights? Deepen your understanding of the copyright and music licensing considerations behind commissioning, new music projects, and recording. Session participants will dive into the details of clearances, working with music publishers, and custom arrangement licensing and compliance.
Speaker: Ari Solotoff, attorney, Bernstein, Shur, Sawyer & Nelson, P.A.
Cumberland 5-6, Level Three
The Musicians' Perspective: Creating Collaborative Cultures in Orchestras
Some orchestras are highly collaborative with board, staff, and musicians well aligned; some others would argue that if each constituent part does its job at a high level, there is not much need to collaborate; and some others are outright adversarial. There are probably as many cultures as there are orchestras. A panel of musicians will tackle the question of culture, the often unspoken yet powerful force that drives organizations more than strategy or individual leaders. They’ll consider how culture can support innovation and empowerment, as well as the role culture can play in setting and achieving organizational goals and delivering on mission.
Speakers: Kevin Jablonski, section bass, Nashville Symphony; Bradley Mansell, cellist, Nashville Symphony; Laura Ross, second violin, Nashville Symphony
Broadway C, Level Two
Suggested: Community Identity in Programming
Orchestras today are increasingly looking to their own community when programming and commissioning new pieces. Hear from composers and administrators on the front line of this work: how are new compositions created with community in mind; how are programs curated that reflect community; what challenges and success were encountered; and what was the community’s response.
Moderator: Teddy Abrams, Music Director, Louisville Orchestra
Panelists: Lembit Beecher, composer; Tania Leon, composer; Eun Lee, The Dream Unfinished
Name badges for this event generously provided by TALASKE l Sound Thinking.