The thing that strikes me: by all rights, we should be despondent. And yet – I don’t think I’ve ever been to a more joyful concert.
The Minnesota Orchestra should be playing in its newly renovated hall in downtown Minneapolis. And yet – thanks to a fifteen-month-long musician lockout, they aren’t. Ted Mann Concert Hall on the University of Minnesota campus has been rented for musician-produced concerts instead, and it works just fine.
Stanislaw Skrowaczewski, the former music director of the Minnesota Orchestra, is ninety. Most men his age are crippled or dead. He shouldn’t be physically able to lead magisterial performances of Brahms and Wagner. And yet – here he is tonight, graciously accepting our wild applause, magically drawing forth music, gladly flouting his former employer in the classiest possible way.
The musicians should be performing on a newly renovated stage, fresh from triumph at Carnegie Hall. And yet – their Carnegie concerts are canceled and their music director is gone. Instead, they’re learning the fine art of PR, renting halls, serving on fundraising committees, debating repertoire, coordinating educational activities, and selling out concerts.
My volunteer audience activist friends should be occasional concertgoers and amateur musicians who go to concerts, enjoy them, and then go home to their families. And yet – now they’re devoting endless hours to poring over various orchestras’ financial records, while befriending influential politicians and studying the principles of non-profit management.
I should be curled up at home, a woman in her mid-twenties happy in her anonymity, writing essays about Victorian violinists that nobody reads. And yet – thanks to the lockout, I recently went on a WQXR podcast talking about the impact of social media on the arts with the former head of social media with the Dean campaign.
The last fifteen months have been one long story of “x should be, but y is.” Unintended consequences abound. People have tried to control them, but those who try, inevitably fail.
“It would be easy to be bitter, but I am thankful,” horn player Ellen Dinwiddie Smith tells us before the Brahms symphony. She is thankful for the audience, she says. For her colleagues. But most importantly, she is thankful for music.
Yes, I think. Yes.
We’ll soon announce a star-studded self-produced season to begin in the New Year, Ellen then says, very coyly, and the audience murmurs with excitement.