Aspen problems?

<p>This is a big deal for Aspen, and quite sad. Zinman was a major macher there and a fun conductor to watch.<br>
The Aspen Times writes:
As of three days ago, David Zinman was in negotiations to extend his contract as music director of the Aspen Music Festival and School through the 2011 season. But as of two days ago, Zinman won’t even be appearing at this summer’s festival.</p>

<p>In a move that came as a surprise to Music Festival president and CEO Alan Fletcher, the 73-year-old Zinman requested to be released from his contract, which ran through the 2010 summer. The Music Festival — by far the area’s biggest arts nonprofit, with an eight-week season and a school that has enrolled some 750 students in recent years — consented, abruptly ending a 12-year tenure that seems to be considered generally successful.
“David probably had frustration and disappointment in all that went on,” Haas, who has not been in touch with Zinman regarding his resignation, said. “He was not a supporter of the events that, right or wrong, the festival decided had to be made. He certainly was not a supporter of the initiatives, or the way they were implemented. Maybe he got to the endgame that it wouldn’t be great to come back and put a happy face on it. Maybe he didn’t have it in him to give that important and positive message to the students for another summer, with these troubles the festival is facing.”</p>

<p>Noting that Zinman lives most of the time in Europe, Haas added that travel and logistics might have figured into Zinman’s decision.</p>

<p>Fletcher acknowledged that he has heard talk that he and Zinman did not get along well. But he said that, if the relationship was troubling enough to cause Zinman to part ways with the festival, Zinman gave little indication of that last summer.</p>

<p>“All summer we had multiple friendly lunches. I’d ask him if there were problems and he’s say, ‘No, no, I don’t have any problems,'” Fletcher said. “And yet, there must have been problems. But I felt they were on his side, and not on mine. I have had no troubles working with David.”</p>

<p>Among the concerns raised by Zinman’s departure, the most pressing is finding replacement conductors for the concerts he was scheduled to lead this summer. Zinman was set to conduct five performances, including the first symphony concert of the season, on July 2, featuring superstar violinist Gil Shaham, and the closing event of the season, typically a massive, celebratory affair. Fletcher, however, noted there was “an extremely deep field of conductors who want to conduct here.”</p>

<p>As for finding a successor to fill Zinman’s role as director, Fletcher said that he is already organizing an advisory committee to determine the process to hire a new artistic director. Fletcher added that the organization is in healthy shape — ticket sales are ahead of last year; student registration is strong; the endowment is up — and thus there is no sense of panic to fill the leadership position. </p>

<p>“Nothing sudden will happen,” Fletcher said.</p>

<p>There is broad agreement that the next music director will have sizable shoes to fill. Zinman — along with the late Robert Harth, a past president of the festival — created the American Academy of Conducting at Aspen, an ambitious program that provided enormous resources, including an orchestra of its own, to train aspiring conductors. Fletcher and Haas both noted that Zinman — who is also director of the Tonhalle Orchester-Zurich, in Switzerland, and has had an acclaimed recording career — raised the artistic level at the festival.</p>

<p>“David brought the festival from one in which our artistic and education mission was at times ambiguous, to being well-directed and centered on what is important in classical music,” Haas said. </p>

<p>“Anyone who’s been attending the festival in the last 12 years will have memories of truly wonderful concerts that he conducted,” Fletcher said, noting that among his favorites were Schoenberg’s “Gurre-Lieder,” which closed the 2008 festival; a semi-staged version of the Puccini opera “Madame Butterfly”; and Shostakovich’s Symphony No. 7. Fletcher added, in a press release, that he was hopeful that Zinman would return to Aspen as a guest conductor.</p>

<p>Fletcher and Haas also agreed that Zinman was liked and admired by the Music Festival community.</p>

<p>“I think it’s a sad day for the festival,” Haas said. “There’s a feeling of loss. I think a lot of people are going to miss him.”</p>

<p>“We were in discussions with his representatives about 2011, and it was very positive and productive,” Fletcher said. “Then they said, ‘We’re going to stop these discussions, and David’s going to request to be released from his contract.”</p>

<p>Fletcher said he would not speculate about Zinman’s desire to sever his relationship with the organization. But Jonathan Haas, an Aspen Music School faculty member who has led the Aspen Percussion Ensemble for 24 years, believes that Zinman’s decision was connected to incidents from last summer, when the organization decided to cut a week from the summer season and, more significantly, reduced the size of the faculty over Zinman’s protests. After negotiations, the Music Festival restored some faculty positions that were scheduled to be cut. But tension inside the organization ran high enough that, in October, the Music Festival announced that Fletcher would be leaving his position. Several weeks later, a vote of the full board of directors reinstated Fletcher.</p>

<p>[Turmoil</a> Builds at Aspen Music Festival - NYTimes.com](<a href=“http://www.nytimes.com/2010/04/30/arts/music/30aspen.html]Turmoil”>http://www.nytimes.com/2010/04/30/arts/music/30aspen.html)</p>

<p>Sad.</p>

<p>I suspect this is not going to be the last case we see of this kind of thing. Given the financial climate, arts organizations are facing the same situation that the ‘real’ world is, with declining revenue from contributions and governments, that until recent times has been relatively generous. As a result, some in the music world have kind of felt like they are isolated from the real world. </p>

<p>A classic example I saw was with the recent Cleveland Orchestra uproar, where the orchestra asked its members to take a pay cut to try and alleviate a budget deficit. On blog sites and letters to the editor the musicians were complaining, arguing that they are well trained professionals who have put years of training and schooling into getting where they are, that they have mortgages and families, so therefore it was an outrage to ask for concessions. While I can understand the angst, it also to me showed someone divorced from reality, when workers in private companies were being laid off, lost benefits or had pay cuts put on them, the pain is real but it is kind of arrogant to claim exemption from economic pain that way, or the reality of economics IMO. </p>

<p>A lot of musicians and group managers have recognized the reality and have done a lot to try and help, so it is by no means everyone,of course. </p>

<p>In terms of a program like Aspen, some of the people who return there year after year could have the mentality like going there is a right (rite?) of summer, teachers who have always been able to take a lot of students there might get miffed if they are told to cut back, etc and they are not easy to deal with from everything I have seen and heard. When you have some people who feel entitled to something, and then have to ask them to cut back or not meet their expectations, strife like this is what happens.</p>

<p>as I understand it, the faculty was not consulted by Fletcher, who simply announced at a meeting of faculty in mid-summer, unexpectedly, that some would not be rehired (sort of like that old Harvard Law School scene in Paper Chase: look to your right and left; some of you won’t be here next year); many faculty voiced their willingness to take pay cuts instead of this culling, but were ignored, at least initially.<br>
Apart from that, I think musicians, like teachers, are entitled to a fair living wage and to be treated respectfully by administrators (including conductors); why would people choose to devote themselves to these important professions without the promise of fair earnings and respect? - musician unions are entitled to bargain just as teachers and other unions do, to avoid being exploited and to work towards the best use of resources. One could argue that is more important to support the faculty and students (e.g., not giving up the idea of a tuition-free program that was discussed only a couple of years ago) than new facilities at Aspen that have been the focus of Fletcher.
I hope the students are not adversely affected at Aspen this year, and I assume they will have rewarding summers despite this controversy; it is a wonderful festival.</p>