The once rock solid foundations of rigid subscription packages are beginning to crumble. Actually, they’ve already crumbled, turned to sand, and the economic model built atop of their revenue streams is sliding into oblivion. Unfortunately, most orchestras haven’t been prepared to replace the revenue from those ticket sales or wean themselves off of using that

I had the pleasure of receiving a fine email from an Adaptistration reader in Jacksonville, Florida who, in addition to being an artist, also serves as a board member on several chamber music and music education institutions.

Although the members of the “Big 5” are in the midst of wrapping up their talks, the musicians and managers at Dallas finished their contract negotiations just over two months ago.  I learned about how the Dallas talks went from the DSO negotiation chairman, tubist Matt Good.  He said that the players and management came

Composer Carl Stalling was a genius.  The mountain of work he produced as a studio composer for Warner Brothers cartoons did more to educate and expose children to a wider variety of classical music than all of Leonard Bernstein’s young Person’s Concerts combined. I published an article at The Partial Observer which examines the impact

A few weeks ago I published an article which pondered the question of how orchestras could simultaneously cut an artistic budget while simultaneously guaranteeing an equal level of artistic accomplishment.  Since that article, I’ve had a number of emails from very anxious musicians and patrons (not to mention a few managers) expecting an answer. In