During the Jacksonville lockout, I posted an opinion on December 19, 2007 regarding the music director’s role during such times. To read it click here. It is great news that the lockout is over and today, I received a letter from Fabio Mechetti. I am posting it below unedited:
Now that the situation in Jacksonville has been resolved and the orchestra is scheduled to go back on stage, I feel the need to respond publicly to Ron Spigelman’s article about the role of the Music Director as a mediator in times of crisis. It is easy to be critical (and hypocritical) of a situation from miles away, particularly when comments are based on rumors and not facts, with no real understanding of the internal situation, both from the musicians or the board’s perspective, throwing wood into the fire out of utter professional irresponsibility.
Let me start by saying that I partially agree with Ron’s position but not to the extent he suggests. An orchestra, big or small, does not hire (or at least should not hire) its Music Director for his or her diplomatic maneuvers but for his or her artistic vision, personality, competence and above all musical abilities. I agree with Ron that the role of the Music Director goes well beyond the podium and in times of crisis, like the one that we unfortunately experienced in Jacksonville, there is an opportunity for him to participate in the process aiming to achieve an acceptable resolution. In the midst of so much misinformation and personal attacks, it is easy to forget our primary responsibility towards the institution we represent in order to “defend” ourselves.
We can only be effective as mediators if we know how to maintain the trust on both sides, and that can only be achieved if we do it quietly and with total impartiality. That has been my history with the three other orchestras I had the pleasure of being Music Director before. In all of them I left as a “beloved” figure because I always showed respect to musicians, board and staff alike, and led the “organization” as a whole with commitment, devotion and above all integrity. I recognize that this does not mean that I am equally liked by all those whose lives, on and off the stage, have been affected by this lock-out, but when we act according to our principles it is inevitable that some friction will eventually happen.
During a performance, a good conductor does not take the side of the violins or the woodwinds (much less the brass). It is his primary job to balance all the forces towards a common goal. It is his responsibility to establish a unifying pulse that allows all sections to perform well and with confidence. It is his duty to make sure that all musicians are articulating a message with the same voice and delivering this message as fact and not rumor. And above all, the conductor (at least those I admire) does so with economical, purposeful and efficient gestures and not through histrionics.
Mediating in public is unwise and that’s why perhaps people “haven’t heard” of me during this unfortunate debate. But that doesn’t mean that I haven’t been involved in the process. I simply chose to do it outside the public forum because ultimately that’s the best place to resolve internal disputes.
Now that the impasse is finally over, and both sides had the opportunity to defend their complex and valid arguments without my interference, it is time for the Music Director to step up and use his influence to rally the community to support, not one or other side, but the organization as a whole. After all, a symphony orchestra is a community project, and it will be as big and as good as the community wants it to be. If all the community’s energy we saw during this time, both positive and negative, can now be translated in actual financial support, we will be delivering some of our best musical performances yet.
I also hope that blogs like Adaptistration will continue to publicize the success stories that will come out of Jacksonville in the future with the same enthusiasm demonstrated during this period of crisis. That will certainly help strengthen one of the best orchestras in America, so that it may continue to foster its commitment to great music-making, as it has been doing for its first 57 years of history.
Did Maestro Mechetti just call himself “beloved?” I suppose that helps him save on paying a publicist but self-efficacy aside as a JAX resident, I’m glad to hear that the maestro was involved behind the scenes. But in all due respect, I agree with Maestro Spigelman’s point about having the music director lead from the front. Therefore I do think it’s important for the music director to possess some diplomatic ability during a crisis situation. I would have been especially appreciative to hear about how Maestro Mechetti felt the proposed cuts would impact the organization’s artistic output and whether or not the board ever consulted him on those matters when putting together their plan.
I guess I have mixed feelings; I’m glad he did something behind the scenes but I’m disappointed he didn’t have the courage (or ability) to step up as a leader. His piece has an “excuse” flavor that leaves a bitter aftertaste in my mouth. I think it’s impossible for Maestro Mechetti – or any music director – to say they are totally impartial simply isn’t believable. They have to have an opinion about the artistic level of the organization and that level is shaped by nearly all of the events that took place during these negotiations. To pretend that recent events don’t impact those issues is either naive or a conscious attempt to insert one’s head into the sand.
Performing at a high level in a symphony orchestra day after day is not easy. If I was a member of the JSO I would like to know that my music director would go to war for me if the artistic standards of the orchestra were threatened. No composer or musician ever thrived on silence, Im not sure why FM thinks he can. Sometimes it is just easier to let other people do the work for you. Congrats to the musicians for standing up for what they believed in, I just wished more in Jax believed in the same things.
Jim
I have been a musician in two orchestras in which the Boards attempted to impose draconian cuts to the musician complement. In both situations the artistic integrity of the institution was at risk had the plans been implemented.
In orchestra “A”, the MD’s response was “well if this needs to happen then I guess we could reprogram for a Chamber Orchestra”. In orchestra “B” the MD’s response was “I did not come here for this. I have no interest in conducting a lesser ensemble. If you do this you will also be having a concurrent MD search as well”.
Orchestra “A” has yet to recover from a lengthy lockout of more than a decade ago. Orchestra “B”, while being financially challenged, is still artistically viable and it’s complement and programing remain intact.
The podium comes with leadership responsibilities that are more than musical in nature. A true leader rises to the occasion when a crisis occurs. The Jax Maestro seems to have missed the call.
Yes, much agreed. Too bad. Jax maestro was probably a good intentioned type. Sounds like a Star Wars situation now, went to the dark side and now is blinded by his own glory. That is not what music is about. It has never been about personal glory, or even safety in the career. Music is risky. The best conductors take big risks: like going out on a line for the greater good. Music has been hurt in JAX, a real shame for the art and the listeners.