Comments on: Is There a Good Way to Cancel? http://www.musicalamerica.com/mablogs/?p=2608 Wed, 12 Dec 2012 04:48:46 +0000 hourly 1 http://wordpress.org/?v=3.0.6 By: Robert Besen http://www.musicalamerica.com/mablogs/?p=2608&cpage=1#comment-172036 Robert Besen Sat, 08 Oct 2011 00:47:11 +0000 http://www.musicalamerica.com/mablogs/?p=2608#comment-172036 My reading is that Edna is suggesting to the artist that if the orchestra is willing and able to help out through some sort of accommodation, then that can be used to make it possible for the artist to accept the late-arriving offer. I do not read that she is condoning anything that the orchestra does not willingly accept. I agree with her approach, and also that it is important to undertake the process respectfully. The artist (and manager) must understand that the orchestra may ultimately simply say "Sorry, but we need you that day," in which case the response must be "I completely understand, and look forward to this performance" - and you have to mean it! The underlying mechanism is that contracts may be renegotiated by willing parties. Artists (and managers) should also be aware that in the case the presenting organization has tangible costs because of the change, that it is appropriate to discuss compensating the presenting organization, possibly through extra service, but a check may be what sends the best message. If a favor is being done for you, be fair -- and generous. My reading is that Edna is suggesting to the artist that if the orchestra is willing and able to help out through some sort of accommodation, then that can be used to make it possible for the artist to accept the late-arriving offer. I do not read that she is condoning anything that the orchestra does not willingly accept. I agree with her approach, and also that it is important to undertake the process respectfully. The artist (and manager) must understand that the orchestra may ultimately simply say “Sorry, but we need you that day,” in which case the response must be “I completely understand, and look forward to this performance” – and you have to mean it!

The underlying mechanism is that contracts may be renegotiated by willing parties. Artists (and managers) should also be aware that in the case the presenting organization has tangible costs because of the change, that it is appropriate to discuss compensating the presenting organization, possibly through extra service, but a check may be what sends the best message. If a favor is being done for you, be fair — and generous.

]]> By: Linda Berna http://www.musicalamerica.com/mablogs/?p=2608&cpage=1#comment-171965 Linda Berna Fri, 07 Oct 2011 21:31:15 +0000 http://www.musicalamerica.com/mablogs/?p=2608#comment-171965 Interestingly, I was just having a conversation with some faculty members on this very topic. And in light of that discussion I find this advice very unfortunate. Part of a conservatory students's training consists of learning the protocol, procedures, and disciplines that constitute the ethics of the music profession. In fact, it might be the most important part. Students come to us with talent and the desire for a career. We cannot give them those things and we do not have to teach them to love music. We do, however, owe it to them to cultivate musical knowledge and skills, and an awareness of what is necessary in order to "make it." And what is most necessary is personal integrity and responsibility. One has nothing if one cannot live up to one's word. Students need to be taught not to double-book themselves, and to live up to whatever commitment they made, whether they enjoy them or not. We all know gifted musicians who do not have careers and never will, because they cannot be depended upon. The real answer to the question this student asks, when is it OK to back out on a less desirable commitment in order to accept a more prestigious or lucrative one, is never. The music world is small. The people you stiff today will talk, and will not be inclined to engage you again. The people whose offer you turn down because of a prior commitment will respect your integrity, and will ask again if they continue to be interested in you. The people for whom you perform small jobs today may have bigger ones to offer you in the future, or may know other people who do. It is also highly instructive that another article referred to in this edition of Musical America, the interview with Dame Janet Baker, contains advice from that great artist that is exactly contrary to the advice Edna offers here: Dame Janet stresses the importance of ethical behavior and speaks compellingly of learning to keep the commitments that she made even when better offers came along, and in that way building a name and a career. Interestingly, I was just having a conversation with some faculty members on this very topic. And in light of that discussion I find this advice very unfortunate. Part of a conservatory students’s training consists of learning the protocol, procedures, and disciplines that constitute the ethics of the music profession. In fact, it might be the most important part. Students come to us with talent and the desire for a career. We cannot give them those things and we do not have to teach them to love music. We do, however, owe it to them to cultivate musical knowledge and skills, and an awareness of what is necessary in order to “make it.” And what is most necessary is personal integrity and responsibility. One has nothing if one cannot live up to one’s word. Students need to be taught not to double-book themselves, and to live up to whatever commitment they made, whether they enjoy them or not. We all know gifted musicians who do not have careers and never will, because they cannot be depended upon. The real answer to the question this student asks, when is it OK to back out on a less desirable commitment in order to accept a more prestigious or lucrative one, is never. The music world is small. The people you stiff today will talk, and will not be inclined to engage you again. The people whose offer you turn down because of a prior commitment will respect your integrity, and will ask again if they continue to be interested in you. The people for whom you perform small jobs today may have bigger ones to offer you in the future, or may know other people who do. It is also highly instructive that another article referred to in this edition of Musical America, the interview with Dame Janet Baker, contains advice from that great artist that is exactly contrary to the advice Edna offers here: Dame Janet stresses the importance of ethical behavior and speaks compellingly of learning to keep the commitments that she made even when better offers came along, and in that way building a name and a career.

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