ViolaTribe

Recently I joined other musicians and music industry leaders at an event in Nashville featuring a discussion of music ( and movie) piracy with Secretary of Commerce Gary Locke.   My first thought was, “Isn’t it a little late?”  I am ready to discuss the next step in protecting intellectual property rights, not to look in the rearview mirror at what has passed.  The digital revolution has changed forever how people listen to music and their expectations of how they will be able to access and share their experience with the music.

What can possibly be done to contain the stealing of music on-line when the laws that are currently in place are not being upheld?  Sure, there are cases that have gone to court to warn others not to download illegally, but these efforts have not been effective and have actually given the music industry a black eye.  Nothing has been done to block the technology industries from providing the tools (directly to their costumers) to steal.  Thus, the government has given the public a yellow light to proceed with  this illegal activity.

What was the purpose of Commerce Secretary Locke’s visit to Music Row?  Could it have been a warning shot to ISP’s (Internet Service Providers) to come to the table with the music and movie industries to make an agreement that will enable all parties to survive?  Was it a strong suggestion to create a new environment  that will allow film makers and musicians, screenwriters and songwriters, publishers and music companies to thrive (and prosper) and bring their art to life (for consumption by the public)?

Internet Service Providers get paid by the consumers who use their services for unauthorized (illegal) transactions.. ISP’s have chosen to allow illegal activity to thrive on their sites.  They have created the new “free” model…so, let them pay for their creation of this permissive environment…they make a lot of money from the consumers who use their services to steal from others, so let’s hold them accountable for their complicity.

In order to support the creative community the next step is to find a way to allow access to the creators through electronics, computers, phones, etc by creating a royalty fund (collective organization) for artists that is itself funded by the electronics, computer, phone, ISP’s, and whatever else may develop in the future.  Create a new revenue source to support the creators and the copyright holders that will always be up to date…it is simple.  The industries that are reaping the rewards of providing access to creators by simply providing a tool to get the music  and movies….should share their success…just like the legal digital download and streaming companies pay into Sound Exchange funds, which is then distributed to musicians and music companies.

It is essential to find a way to support the people involved in the creative community.  They can not possibly survive the “free” business model, especially when the ISP’s, electronics and phone industries- even YouTube  (through advertising) all are thriving economically in the “music for free” business plan.  Yet the “content providers” and copyright holders  (musicians and music companies) are obliged to provide the “for free” part of the plan.  It is time for the next step by implementing a new royalty fund for creators that is funded by the technology  industry.  All use of the music would result in a fee.  Then we can stop talking about music piracy, which will exist but which will be compensated for with a fee on the consumers’ Internet Service bill.

The quotes in this entry are taken directly from The Tennessean, August 1, 2010.  I just had to bring this to your attention.  Has Naxos’ business model contributed to the de-valuation of performing artists?  I’m just wondering…..

“Digital Music Pays Off for Naxos.”  I ask… does it pay off for the musicians and ensembles who are creating the recordings?

“Cheap Musicians Hired…..use relatively unknown- and therefore inexpensive- orchestras and artists, pay them upfront and retain all the rights to the music.”  Having been one of those cheap artists in the Naxos catalog, I can tell you that we could have used some of the money from these recordings to support the now defunct orchestra.  I prefer to be referred to as inexpensive…certainly not cheap.  There is nothing cheap about being a classical musician.

“The orchestras have come around to the idea that they won’t make money from the recordings and, in fact, have to subsidize their own records”, Valentine said (Executive Director of the NSO).

Sounds like Naxos modeled itself after terrestrial radio stations, who insist that it’s all about promotional value.  While it is true that cheap labor can benefit from the promotional value of being heard on the radio or heard on a CD, where is the line?  What makes it ok for a company to put a performer’s copyright protection to the side for their own gain.  The record company makes money, but the artist doesn’t.  I submit that all recording artists should receive royalties from the products they create, that are essentially made to promote and disperse their creative energy to their audience.

Was the Guarneri String Quartet’s audience seeking out the record labels?  Did their audience want to take home a piece of vinyl because they just couldn’t live without the record company?  Would the Guarneri String Quartet have been able to perform for free ?  Record for free?  Teach for free?

The good side of Naxos is that people who want to learn about classical music can be encouraged to purchase recordings.   There is promotional value.  There are benefits.

Perhaps Naxos only thinks of music as a catalog to conquer, not as a an art to be cherished.

My wish is that Naxos would find it’s good side and stop taking advantage of performers…and stop the de-valuation of musicians’ creative efforts.

My answer… strengthen copyright protection.  Provide a universal royalty system for recording artists.

Let me introduce you to composer, Conni Ellisor, by asking you to visit her website.  There you will be able to read about her musical life and listen to  some of her past compositions, including Rhapsody for Viola and Chamber Orchestra.   http://www.ellisormusic.com (copy this link into your browser)

Next, make your way to www.violasound.com to donate  and/or participate in the performance of  her 2nd composition for viola, in this case a Viola Sonata.  This co-commission project allows her fans to help support the creation of new music.  This concept is similar to orchestral or chamber ensemble co-commission projects, in which the ensembles join resources to support and inspire the composer.  Once a certain amount of financial support is reached, the project is able to be completed.  These types of endeavors are a creative approach to funding the creation of new works, projects, recordings, etc.  In these crazy times…Artists and Musicians supporting each other directly… Fans supporting the music they love to hear….Students supporting new music…Sounds like a great plan.

Become a fan and support Conni.

The experience I had in Cincinnati reinforced my daily struggle to find the value to my community for what I do.  The” bubble of viola”  that I had the good fortune to experience is still just a bubble…unless we can blow that bubble beyond the borders of the concrete walls of CCM…or any institution.

The journey  from Nashville to Cincinnati to this year’s International Viola Congress began in a symbolic and somewhat humorous way.  What I love about being a musician in Nashville:  the eclectic experiences, the rich musical history, the sultry smell of Magnolias in the summer heat, the warmth of the people.  What I don’t love about being a violist in Nashville: being isolated from a rich and diverse classical music community, the lack of high caliber chamber music and certainly international solo recitals.  There are the occasional, if not annual appearances of orchestras making a stop at the wonderful Schermerhorn Symphony Center (currently in recovery mode after the recent flood) and the occasional solo appearance- Gil Shaham, for example performed brilliantly a few years ago.  But where are the string quartets and chamber ensembles?  We just are not on the circuit.  The Nashville Symphony is a fortunate organization that has the support of a very enlightened patron.  Beyond those borders it can be difficult to find performance sponsorship.

So, the journey to Cincinnati was a reminder of a few wrong turns and the dilemma of the predicament in which I find myself.  The roots of inspiration…  and the reminder of some personal challenges.

Rain.  Buckets of Rain.  Rain that will make you panic when your town has just experienced a major, unexpected 500 yr. flood.  Like any trauma experienced, you can forget, but it doesn’t take much to stir up the imagination.  A mother leaving her children behind- in the driving rain.

After traveling a number of miles at an alarmingly slow pace- the rain settled down to a steady summer pace.  However, the push forward lost momentum when my car rounded a hilly curve and I  squinted in the dull mist to clarify what I believed to be true- one of those crazy double wide houses, as in pre-fab, being hauled around the same curves and hills that complete one side of the rim of the geographical bowl where Nashville rests.  Glad that I had opted not to drive the mini-van ( by the way I strongly feel auto makers should market 2 for 1 deals for soccer moms- -one minivan and one mini-coupe), I worked my way into the passing lane with all the other frustrated drivers.  I pass successfully - then, blinking twice, I focus on not one, or two, but three more of the exact same looking pre-fab get-ups stretching ahead for well…. a long way.  And so, my mind starts to mull  over this society that shuns art and architecture in favor of …the Pre-fab…shuns education in favor of deep, uninformed roots…which chooses to support the arts through a system of donations and crossed fingers.  It is with humor and anticipation that I continue my journey to the 38th International Viola Congress–” a short drive, but a world away from Nashville.”

Upon arrival, with just a few minutes to settle in, I took my seat at the Thursday evening Gala Concert.  The program was as follows: A String Around Autumn by Takemitsu and performed by Nobuko Imai;  Concerto for Vla and Orchestra by Bartok and performed by Lawrence Dutton;  Concerto for Vla and Orchestra, Op. 36 by Rosel and performed by Walter Kussner;  and Concerto for Cello and Orchestra, Op. 85 by Elgar and performed by David Aaron Carpenter.

This concert started out beautifully and serenely with a performance by Nobuko Imai.  This was the first time I had heard Imai perform live.  I have listened many times to her recordings and have always admired her warm, lyrical playing.  I was surprised to feel less engaged with her performance than I had anticipated- the reason became clear to me later in the evening.

Next, I heard Lawrence Dutton perform Bartok Concerto.  We usually don’t hear him perform as a soloist, so it was interesting to see him switch gears from chamber music to standing in front of an orchestra.  It seemed that he muscled his way through the Bartok, perhaps doing what we call a Michael Jordan maneunver- been there done that, let’s try something a little different.  More power to him.

After intermission, we were presented with music that I had never heard, seen, or even heard of prior to this performance.  In fact, I had never heard Walter Kussner either and I appreciated the enthusiastic performance.  He drew me into the music and I don’t think the piece will rush to the top of the charts- but I was thrilled to hear Walter Kussner play that viola.

At this point in the evening, I was beginning to  be thankful that I wasn’t sitting in the orchestra preparing  to perform the 4th work of the evening!  I wasn’t even sure that my listening ears were prepared…Since I had moved upstairs after intermission, thanks to a very wriggly, tall person sitting next to me- I thought I would make my way back downstairs for the final piece.  My timing was terrible and I found myself standing up next to the door ( feeling a little tempted to escape ,if needed- due more to a character trait than the music).    Well, the time flew- from the 1st note to the last, I was transformed and excited to be hearing the viola.  I had heard the YouTube version of this piece and was less than sold on that performance.  But now- Caprenter was ON and I left the concert feeling very satisfied with the viola and having a new spark of enthusiasm- a seed of inspiration for the instrument that I know as my own.  And- mystery solved- this is where the Imai performance had fallen a little short for me.  Again, she played beautifully…no complaints except that my anticipation seemed to rise above the real time experience.  I’m still a super fan.

Day 2- Up and out the Door by 7:30a.m.- my day was filled to the brim.  The Congerss is organized by the hour with overlapping recitals, demonstrations, master classes and lecture recitals.  I thought I would have plenty of time to get to the exhibit hall to check out the bow selection, but am disappointed to report only a  15 min. sidetrip into the space.

Roberto Diaz started the day with 2 masterclasses.  Excellent.  John Graham presented the outer edge of  the viola repetoire with the use of a computer, electronics, and percussion.  I always enjoy Graham’s muscular and rhythmic approach to the viola.  He represents “classical” music in real time- by working directly with composers and  by experimenting with the role of the viola, he has direct impact on the modern viola.  This experience was contrasted by lots of Schubert Arpeggione throughout the day, including a charming lecture recital by the gentleman violist, Bruno Giuranna.  Giuranna’s traditional, mild and very classical approach was in contrast to the earlier direction of Roberto Diaz to a masterclass participant to shape the piece in a more dynamic, romantic way.  Both were very sarisfying.

Sandwiched into the day was an interesting recital by Max Savikangas, Sam Rhodes, Nobuko Imai and Sergey Malov.  I loved the contrast of the playing in this recital.  Azonal Advice, written and performed by Savikangas; Play It Again Sam by Milton Babbitt written for and performed by Sam Rhodes; Figment IV by Elliott Carter,  also written for and performed by Sam Rhodes; J. S. Bach’s 4th Cello Suite performed by Sergey Malov and a performance by Nobuko Imai that I missed in order to make my way to another event.

This was a very personal recital.  That is, the significance of the music or approach to the music was very personal by each performer.  Max Savkangas was powerful in his Azonal Advice- I hope to hear more of his music in the future , though this is slightly unlikely from my vantage point in Nashville.)  Sam Rhodes presented a slice of the  20th century that honored his importance in the viola world, not just as a member of the Juilliard String Quartet, but also as a soloist.  Sergey Malov was intriguing in his very individual manner and lyrical, romantic approach to the Bach Suite.  His playing was very liquid and his tempos were falling forward, without being rushed.  The playing on the recital was diverse in style and  presented a very interesting, excellent result.

The end of my listening day was a bit of a let down for me.  My ears were saturated, but I wanted to hear Kim Kashkashian perform.  The program was contemporary, with percussion and joined by a theatrical motion around the stage,  complete with grunts by the performers.  It was all excellent playing, but I wanted to hear tone, not jabs at the viola.  Now, I’m sounding spoiled- she is clearly a great asset to the viola world.

REGRETS- always!  I missed Atar Arad’s appearance, didn’t have time for bows and didn’t get to hear and meet many more wonderful violists.  I regret not getting to the Congress earlier and staying longer, but I’m a working, family gal and this escape was an indulgence–so those were the cards I was handed.  Keep ‘em wanting more so they will come back next time.  I will return…I hope to see you there.

http://countrymusiccares.net/

check in with Music Cares site to help Nashville recover from recent floods……dontate, purchase….please find a way to support Nashville’s music community……

Participate in supporting the commission of a new viola sonata by composer Conni Ellisor.  Conni’s career has been diverse and continues to enrich the fabric of American music.  Read about Conni Ellisor and the new project by following the link to http://www.monisaangell.com/violasound/newsletters/newsletter_april2010.html.  Once you have signed up to participate, you will receive a signed copy of the music and will be encouraged to perform the work during a set period of time.  You are encouraged to let us know when and where you are performing the work… Great for violists looking for new music to study and perform.

I was going to name a few artists that I’ve had the opportunity to work with this January, but decided that Big Kenny deserves his own realestate.  I’ve worked with him at least two or three times and I’m always totally mesmerized by his bold, brash AND sensitive character!  I used to cry …but no more.  I brood, mull things over, squirm, …but Big Kenny makes me cry.  He is affected by the world…he tries new things….tells it like he sees it.

http://www.cdbaby.com/cd/MonisaAngell

Follow the above link to CD Baby.  I am promoting the Granados 11 songs with 2 FREE downloads.  The other 9 songs are $.99 or maybe you will want to download the entire CD and save$!!  Hey Violists–to order the printed music, go to my website.  There is a secure PayPal link for purchases! http://www.monisaangell.com

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String players do not like to admit their aches and pains, but I know a lot of players who have had neck surgery, carpal tunnel, tendonitis, tension, fatigue, etc.  It must be our fault!! 

Well, my physical therapist worked yesterday on my left side breathing capacity.  That’s right…upper string players tend to have diminished lung capacity on their left side.  In my case, I overuse my right side  neck muscles in everything that I do, including breathing.  Just thought I would share.