Tony opened his mouth and didn't disappoint Columbus:
Hirokami should have remained neutral, said Tony Beadle, executive director of the symphony -- adding that Hirokami has also failed to perform key duties of a music director for a major orchestra, partly because he hasn't put down roots in central Ohio.
"A good deal of the work is not done on the podium," Beadle said. "A music director is the face of the orchestra and ambassador of good will to the community and potential donors."
(For those of you who don't know, Tony Beadle and Susan Rosenstock, General Manager, were caught illegally video taping parts of a recent performance during a concert produced by the Musicians to counter management's lockout of work and benefits.)
Several blog posts have appeared in response. Drew McMannus of Adaptistration posted Beadle, Pot, Kettle?, and Bill Eddins of Sticks and Drones, a blog written by two conductors, posted Pull up the roots.... Both are worth reading.
I also posted a response from Korine Fujiwara, a violinist from the CSO, on my blog, Buzzing Reed. One commenter needs to be quoted here, to highlight the range of attitudes concerning how orchestras function and how to "solve" the problem of supporting the arts in general. Unfortunately, the following myopic and presumptuous suggestions are not an uncommon viewpoint for many Americans who are eager to climb the ladder to success and "too bad for anyone in the way". Here is the comment posted by (the otherwise anonymous) Steve S:
To counter these ideas, I quote from a letter by David Lundberg, which is also posted in full on my blog.
In Dallas, as a singer in the Dallas Symphony (DSO) Chorus for 25 years and as a member of the DSO Board for several terms, I saw...the DSO emerge from bankruptcy in 1974, at full strength, thanks to some farsighted people including Stanley Marcus (Neiman Marcus). During the 70’ s, the DSO had a series of short-term and guest conductors, who allowed the Orchestra to become uninspired and sloppy. Enter Maestro Eduardo Mata, a masterful technician..., who awakened the musicians’ desire to perform at a higher level. [What followed was] a European tour, great reviews, and wonderful community response. The whole situation in Dallas remains positive to this day – pride in and of the musicians, fiscal stability, great arts community, good endowment, a great new $130 Million venue and no debt.In the ensuing years, many Fortune 500 companies relocated their headquarters to the Dallas area. Ones that quickly come to mind are American Airlines, JC Penney, Exxon Mobil, Kimberly Clark, Co—America Bank, Fluor, and Ericsson Telecommunications (North America). Is there a connection here? You bet there is. When major companies decide to relocate, they establish a profile of the qualities that they are seeking at the new location. Common to these profiles is the absolute requirement of a superb, vigorous cultural community (led most naturally by the symphony and opera). While this is not the only criterion, the importance of a vital classical art landscape is undeniable.
I appreciate you pointing out that Mr. Beadle is probably not the best person to have stated what he stated about Mr. Hirokami. That being said, I think there is a lot of truth to his statements. The music director does need to be a face, and does need to understand the way an American symphony orchestra works. Hirokami’s incredibly negative comments about his employer showed that lack of understanding. In the end, there is no way to know who’s really not doing their “job,” but what Hirokami did was just plain stupid. I wouldn’t be surprised if he doesn’t work in American for a very long time because of this.
You imply in your last sentence that the board is dysfunctional. I would like to hear an explanation of that allegation other than you not getting the paycheck amount you desire. I’m sure we would also love to hear how you would react if the tables were turned, if a board member told an orchestra musician that they were incompetent. You’re an expert fundraiser? Who is exactly? You get paid because some people out there think what you do is important. No one is taking advantage of you, no one is earning a profit. A board is all-volunteer, and your salaries are paid because they beg people to give you their money with absolutely no return on their investment.
All this finger-pointing is what is running your orchestra to the ground, not any one person or group of people. Orchestral musicians are LUCKY to have the jobs they have, and sometimes that luck just runs out. When you place your livelihood in the hands of the good-will of people, then shame on you for placing expectations on anyone to provide anything for you. Playing an instrument entitles you to nothing, no matter how good at it you might be.