The "Superhero Maestro of the Universe" issue

by Paul Gambill

Following the NCO’s season finale we emailed audience members, which included 314 attendees of the American Symphony Orchestra League’s National Conference that had attended the concert, and invited them to blog about their experience with us.

The feedback we received was for the most part very supportive. We also received two responses from orchestra professionals who were attending the ASOL conference and had been offended by a segment of the program that included me talking to the audience, and that’s what I want to discuss. But before going any further, check out the segment in question:

Before summarizing and commenting on the negative feedback, I think it’s important to know some context on the concert. The program was titled Gypsy Nights, and was firmly in our Music Without Boundaries style, which typically features cross-genre works we have commissioned, plus some established masterworks from the traditional repertory. CLICK HERE TO SEE THE PROGRAM

Besides the segment of the program in the video, there were, by traditional classical performance practice standards, other unusual moments. The program began with Gilles Apap playing some solo Bach from off-stage and entering slowly as a strolling violinist. John Jorgenson, co-composer and soloist on two of the works, and I had spoken to the audience before each of his work. At the top of the second half, the orchestra members, Gilles and myself gradually entered the stage while a handful of us, one after another, went to microphones up front and said a sentence or two about our feelings toward the music on this program.

So by the time we reached the segment in the video, which came after the premiere of the Balakrishnan, there had been a good deal of interaction between soloists, orchestra members, myself and the audience.

The two negative responses we received from the orchestra professionals were sent via email rather then posted as comments on the blog, as we had invited, so to maintain their privacy I’ll summarize rather then post the complete messages. Although they each had some positive things to say, they were unanimous in feeling offended by what they considered my “disrespectful” play on the name of Zoltan. One said it was in “extremely bad taste” and the other felt “deeply offended.”

In fairness, I need to put their comments in context a bit. One of these individuals had studied with Kodaly and had enjoyed a very meaningful relationship as a student of his. My Zoltan segment was the focus of their message, and they felt it overshadowed the rest of the concert for them. The other’s “extremely bad taste” comment was only a part, albeit the first part, of a scathing review of the entire program.

When the first of these reviews came in I tossed it off. But when the second one arrived with similar comments about my Superhero Maestro of the Universe shtick, I knew there must be others out there who felt similarly but were not writing in. Was it really in bad taste? Had I kicked sand in the face of Kodaly’s greatness or his legacy by what I thought was an innocent bit of fun?

I don’t think so.

These negative reviews about my onstage comments really cut to the core of what I feel is one of classical music’s biggest challenges today—it’s perception as stuffy, remote, and—many people feel—just not much fun. So it’s frustrating to hear the offense that these classical music insiders took at my play on Zoltan. How does it serve our purpose of bringing classical music to life for a broader audience if we continue to place it on a pedestal of untouchability?

Today’s audience, that ever more elusive younger set of web-savvy entertainment hounds that every orchestra is madly courting, doesn’t care much for remoteness or formality. And I feel certain that another key demographic we all talk so much about, the 40-55 age group, isn’t dying to hold onto our tradition-bound world of buttoned up performance practice. What those groups want, and are getting from almost every other form of art and entertainment they engage with, is accessibility, openness and in many cases real-time interaction.

So I see this suggestion that the masters of our music should somehow be held above the everyday fun we have with ourselves as only serving to keep our music, yet again, detached and distant from a sense of easy belonging in our contemporary lives.

I wish I had not offended anyone by my Zoltan skit. But I don’t regret taking a moment to laugh with the musicians and audience. I take very seriously my role as an artist in my community and am keenly aware of the responsibility I have as an arts leader to respect and share the transforming power of orchestra music. But I hope I never loose my capacity to laugh at myself and the music that I love so much.

Comments

[David Hancock, Principal Cello]

I don't imagine that anyone who was paying actual attention could have been truly offended by the "Zoltan" shtick or "Superhero Maestro of the Universe" for that matter.
Audience members who were in fact listening had to understand that the name "Zoltan," to Paul Gambill, communicates regality, and power. The name actually is Hungarian for "life" and/or "energy," from the Greek root "zoe" meaning life. The comments were complimentary of the name. Kodaly, himself, would've relished the comments had he been born in the late 20th century world of superheroes. What man in this world would not like to hear his name associated with such superhuman strength. I think not one. And THAT, my friends, is context into which these comments were delivered. Where is the bad taste in that?

But, the fact that one attitude perpetuated a scathing review says it all. I'm sorry for these 2 attitudes who seem to have trouble having a good time with music.
They are those that we are no longer trying to be like. They are those who give us all a bad name.

[Erin Horner]

When an orchestra strives to be different--without boundaries--fun--exciting--cutting edge, it must be prepared to be criticized by those who remain the same--confined--boring--old school--traditional. I am glad that the NCO and its conductor are generating this kind of buzz. It's what we are all about! I enjoyed the "Zoltan" anecdotage, for the record.

[M Smith]

I thought the anecdote was hilarious.
Pity I can't get to the concerts!!!

Vicarious participant from the UK...

[Clyde Rolston]

I think you are right on target, Paul. Symphony attendance continues to decline because the formality and stuffiness of the performances. The very thing that the two emails complained about is what made the evening special and interesting to the young people in the audience. Please don't let a couple of sour apples sway you or the symphony from their mission.