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Просмотр полной версии : Вопросы и ответы



Peter S. Ovtscharov
06.11.2008, 21:27
В этой теме публикуются вопросы, которые присылают мне в личку.

Таких накопилось уже изрядное количество, и хотелось бы, чтобы они в образовательных целях были общедоступными.

Естественно, публикуются вопросы только в том случае, если автор дал на это согласие. В некоторых случаях буду изменять имя (если автор пожелает остаться анонимным).

Peter S. Ovtscharov
06.11.2008, 21:31
Пишет Олег Безуглов (Ростов, камерный дуэт Class & Jazz)



Здравствуйте, Петр! С огромным интересом прочитал все ваши посты на обоих форумах. Проблемы, которой вы занимаетесь, на мой взгляд даже шире классической, академической музыки. Она скорее более применима к законам шоу-бизнеса. С другой стороны, ни для кого не секрет, что шоу-бизнес сегодня является той аксиномичной реальностью, в которой и существует академической искусство, в качестве малой его резервации. Не буду высказывать распаленные и полные требований реплики вернуть ситуацию на рельсы справедливости, потому что это бессмысленно. Я не разделяю финансового пессимизма то ли благодаря своей экономической безграмотности, то ли ввиду того, что чувствую ситуацию по иному. Считаю, что во главе человеческого успеха стоит не хитрый агент, с тучей "умных" денег, а незримый абсолют, у которого масса имен, и не одно из них не переводится как "капитал". В частности, то что вы назвали временем социального застоя, для меня идеологически ближе современного капитализма, но воплощенчески большинство не готово к такой форме социо-культурных отношений.

Все это преамбула. Мне безумно интересно, безотносительно ваших тезисов (потому что, если следовать им, то ответ ясен) узнать ваше мнение о моем небольшом ансамбле. У вам есть определенное чутье, как мне кажется, и вы могли бы хотя бы в нескольких словах дать характеристику нашему творчеству на перспективу. Имею ввиду, что мои планы весьма амбициозны, хотя, наверное, амбициями этот мир переполнен. Зайдите, пожалуйста на сайт моего ансамбля (http://class-jazz.com/) и ответьте мне: "Если ли у нас будущее в том мире, который вы нарисовали?"
С уважением, Олег
__________________
Каменый дуэт Class&Jazz (http://class-jazz.com/). Концепция классики



Здравствуйте Олег,

не буду вдаваться в споры насчет правильности/неправильности моих или Ваших тезисов. Давайте ближе к делу.

Пару замечаний по веб-странице, английская версия.

About us: почему назван только город (Ростов), и не названа страна - Россия? Думаете, название Ростов-на-Дону любому американцу/европейцу что-то говорит? Добавьте.

Текст лучше всего сделать поменьше размером и форматировать по ширине, а не по левому краю - так лучше смотрится. Да, и не используйте прочерк вместо дефиса - это дурной тон.

Press: дипломы - это замечательно! Только наверх их, наверх, а ниже уже вырезки из статей.

Photo: Явный перебор. Зачем столько фотографий, если большинство из них подходят скорее в семейный альбом, чем на рекламные цели? У Вас замечательная партнерша и Вы замечательно смотритесь вместе, только кому интересны Ваши семейные фотографии в таком количестве (тем более, что некоторые из них не очень удачно получились)? :-)

Удаляйте все, что не несет смыслового заряда, оставляйте самые лучшие концертные фото.

Recordings: наверх видео с Ютуба! Это же в разы лучше смотрится, чем набор скучных текстовых линков...

Repertoire: не увлекайтесь жирным текстом и комбинацией черного-красного. Должно быть просто и читабельно.

Contacts: мейл-адрес на первое место обязательно, телефон на второе. Иначе создается впечатление, что Вы прямо сидите на телефоне и ждете звонка...

А так сделано очень и очень неплохо - молодцы! Так держать.

А Ростов вообще - замечательный город... :wink:

С уважением,

Петр

Klass00
12.12.2010, 00:39
Interview with Jacques Leiser
Monday, January 25, 2010 at 9:06am
This is an article I wrote for International Piano a couple of years ago

Introduction

In a recent interview in International Piano, Stephen Hough likened a successful career in music to a bingo card in which all the tabs across are represented. Angela Hewitt has spoken on Canadian radio about the challenges of starting off a career. With so many students being trained in a world of mass-produced recordings and dwindling ticket sales, how is a young pianist to have a successful career? The question is one that dominates the life of renowned artist manager Jacques Leiser, who is giving presentations and workshops for young pianists at music conservatories and festivals on the ingredients and basic requirements for a successful career in classical music.

A Rich Background

Leiser’s rich and varied experience in the music world spans over half a century and has given him a profound understanding of the forces behind the industry. He worked for a dozen years at EMI France, and was responsible in the 1950s for the discovery and release of Dinu Lipatti’s last recital as well as for the creation of the Great Recordings of the Century series (“Les Gravures Illustres” in France). Leiser was instrumental in Sviatoslav Richter’s first recordings in the West and eventually got involved in artist management, representing Arturo Benedetti Michelangeli internationally and arranging his worldwide comeback in 1965. Over the years he represented the likes of Lazar Berman, Maurizio Pollini, Annie Fischer, Julius Katchen, Earl Wild, Grigory Sokolov, Gyorgyi Cziffra, Dame Moura Lympany, and Bella Davidovich, and created and founded the Tours Music Festival with Richter in 1964. He helped arrange the premiere recording of “De Profundis”, a lost piano concerto by Liszt from 1834/35, and has also produced an interview CD (on VAI) with Boris Barere about his father, the great neglected pianist Simon Barere. Throughout his career he has also taken exemplary photographs of leading musicians, which have recently been exhibited at the Louvre and numerous music festivals and exhibitions worldwide.

Now residing in Switzerland, Leiser’s present focus is on the challenges facing young pianists. Over the past few years, he has been presenting workshops on the key points that pianists should be aware of when embarking on a career, a topic largely absent from the curriculum at conservatories around the world. Leiser sees the path to a career as “an obstacle course that needs to be overcome,” and his presentations at conservatories and academies in Switzerland, Italy, and Germany have been met with glowing testimonials from inspired students.

The basics

Leiser believes that there is a conspicuous absence of real-world training for musicians as to what to expect when they graduate or even win a competition: they are usually not aware of the music market or of how to take steps to ensure their survival and success. He would like to see conservatories and academies providing seminars that prepare their students for what is needed and what to expect in the musical world. “Students are taught to play and perform, but not to manage their careers.” Stephen Hough praised Leiser’s focus, wryly stating that career development “is certainly something to which every conservatory should devote at least one hour in the course of a student’s degree.” And yet many don’t, and as a result even the most successful graduates can flounder because they don’t know how to go about getting things going.

“Young pianists need to know about basic working tools that are required in the profession. They need to understand supply and demand, and that while quality is foremost, unfortunately it is not talent alone which is the deciding factor in obtaining engagements and tours.” Although some things are out of artists’ hands - management sometimes needs to be willing to take risks, as will be discussed below - Leiser says that if artists are presented with the facts of the marketplace, they will be in a position to make educated choices when faced with existing challenges rather than struggling blindly, and then their passion can find a voice.

An obvious important step is securing good management. “This can be touch and go,” Leiser warns. “The right vibes have to be there and the personalities have to work. The manager needs to use his contacts and make an effort on behalf of the artist and show support and dedication, while the artist has to give his utmost cooperation and show his willingness to work closely as a team.” All too often, careers can be stalled because of personality conflicts or a lack of commitment on either side.

Money is also an issue, in particular allocating it in the right direction. “In my opinion a number of the important obstacles could be overcome with proper well-structured funding for career development,” Leiser states. “In effect, a basic investment is required. That's no different than setting up a restaurant, a store, or new business. Young artists rarely have access to this essential investment - money has been allocated to their studies and it stops there. This makes no sense. It's somewhat like investing in the training of a chef, but not making funds available for the establishment and promotion of the restaurant. International tennis star Ana Ivanovic was able to get ahead because a businessman sponsored her and her family’s living expenses for two years - many great as-yet-unknown pianists could launch their careers with this kind of support. Of course, pianists are not chefs or sports stars, but when it comes to promotion, there are correlations. ” Leiser gives the example of ..., a brilliant 21-year-old Italian pianist with world-class artistry who does not yet have the support system in place to enable him to reach the audience he deserves; with appropriate funding, his career could take off more quickly.

An investment needs to be made in an array of materials that will support promotion. “Some of the essential working tools include attractive photos and flyers, well-written updated biographies, repertoire, program suggestions, listings of leading engagements they have played (including venues, conductors and orchestras), press excerpts, and good sounding CD's (preferably live) with attractive graphics. Live DVD's, if they can be realized, are of great importance. An attractive professional website is also essential.” Not having a website, Leiser notes, is like not being listed in the phone book: you cannot expect to be called if you can’t be found.

The importance of recordings

While it is easier today for pianists to make demo recordings than it was in the past, thereby enabling them to introduce themselves to managers and promoters, an official recording contract that entails publicity plays an important role in moving a career forward. Generally one needs to have recordings available to get proper promotional support, but the irony is that recording contracts usually come only when successful concert bookings are taking place or a competition has been won.

“I can't think of a single pianist, with perhaps one exception, who made an international career without recordings and the promotional support of leading record companies,” says Leiser. “When I represented Sokolov in the 1970's in the States, I could not get very far - his Melodiya recordings were unavailable and he got no promotional support. He started getting some limited attention later when he recorded for Op. 111, but it took him some forty years to get recognition practically on his own.” But recordings do not guarantee a successful career. While a mere handful of recordings by Dinu Lipatti garnered international attention, some 20 hours of exemplary recordings by Marcelle Meyer did not. Jorge Bolet made some major recordings over a period of two decades but languished in relative obscurity before his 1974 Carnegie Hall recital launched the 59-year-old to pianistic stardom.

Contacts, contacts, contacts

Recordings help to get a name out to the public, but knowing people personally plays a significant role as well: there are shards of truth in the old adage, “It’s not what you know but who you know.” The good luck that seems to have graced many careers on closer examination could be seen as a combination of connections and timing. “I think contacts and timing are everything,” says Leiser. “Meeting important people in the profession and getting oneself known - by attending important concerts and festivals, for example - is of primary importance. Contacts need to be sought out, established, and developed on an ongoing basis. Exposure and visibility are essential.”

Often a pianist can be in the right place at the right time in order to get a unique opportunity. Leiser gives the example of the 16-year-old André Watts being called in to replace Glenn Gould with the New York Philharmonic on short notice, giving a performance which launched his career. Clara Haskil’s short-notice replacement for recordings with CBS scheduled at the Prades Festival was instrumental in getting her known and launching her late career. “Young artists need to recognize opportunities when they occur - sometimes they come disguised and musicians must therefore be alert to what could turn into a fortuitous development.”

Leiser tells about how after Pollini won the Chopin prize in 1960 and made EMI recordings, his career still did not take off on a grand scale. “Do you know what changed that? He had a friendly relationship with Abbado - they both lived in Milan and Abbado felt solitude after concerts. He admired Pollini and enjoyed his company and they had fun together. So he started engaging him frequently, and then one day DGG suggested that Abbado record with Pollini. That did it, it turned everything around!”

Personal relationships, while no substitute for talent, can help to move a career forward. Pianists as well as managers need to expand their contacts; pianists need to be socially active while managers need to have trusted advisors who update them about up-and-coming artists.

Synchronicity

And yet for connections to pay off, it helps if there is a level of risk-taking on the part of promoters and impresarios. Most promoters prefer to rely on artists who already have a name - some of these musicians’ fees, however, have an adverse impact on the rest of the season. “When a big-name artist commands a five-figure fee for a single appearance, ticket sales alone are not enough to recoup the expense. The costs from that appearance must be balanced out with sales from other concerts in the season and from other sources, which will often lead concert organizations to avoid taking risks with lesser-known artists in case they don’t sell.”

I tell Leiser about the Vancouver Recital Society, who last year presented world-class recitals by lesser-known pianists Markus Groh, Juho Pohjonen, and Javier Perianes in a season that included established pianists Emmanuel Ax, Angela Hewitt, and Pierre-Laurent Aimard. Artistic Director Leila Getz’s discernment in recognizing and promoting new talent is extraordinary: Leif Ove Andsnes, Stephen Hough, Helene Grimaud, and Paul Lewis all made their Canadian premieres at the VRS, whose mission statement is to showcase “the world’s finest musicians, both established and emerging.”

“Unfortunately, Getz is in the minority. In the past, it was the benefactors like the Rothschilds, Polignacs, Wittgensteins, Reinhardts, and Sachers who freely supported unknown talents, taking big risks. When you bet on someone's career, it's always going to be a risk, not much different for some people than betting on the right horse at a race (though an artist is clearly more than a horse). That hardly exists anymore. Getz and the VRS are a wonderful example for a working and lasting formula which allows for discovering new talent and maintaining high musical standards - and selling tickets. Artists and managers must seek out those rare artistic directors who are keen on music and are prepared to take calculated risks.”

Leiser tells the story of Bella Davidovich’s US debut as an example of the potential benefits of risk-taking. Julius Bloom, manager of Carnegie Hall, booked Davidovich even though Leiser had only heard talk of her on a visit to Russia and had no reviews or records, and had never even heard her play. Bloom had worked with Leiser before booking Lazar Berman, whose appearance was a huge success, and was prepared to take a risk in promoting a ‘new’ Russian pianist - and the recital was indeed a huge success, being completely sold out. “I still can’t believe it happened,” reflects Leiser. “Regrettably it would be almost unthinkable today.”

Individuality

A challenging dichotomy that young pianists must transcend is the fact that while competitions are a primary way for artists to be launched into the spotlight, they rarely reward originality and uniqueness. However, in order to be marketable, it helps a pianist to have a unique style and approach. Repertoire choices can be a decisive factor here.

“Stephen Hough's career has never been based on Mozart and Beethoven. The fact that he chose the right repertoire, always had a facility to learn repertoire rapidly and play it brilliantly, and was able to record it successfully, was a major factor in the development of his career. Similarly, Leif Ove Andsnes is known for his playing of Scandinavian music but has not been pigeon-holed and also plays a more standard repertoire, and very well.” Type-casting for pianists can be as perilous as it is for actors, and a Spanish pianist might think twice before recording all-Spanish albums to avoid future constraints.

Conclusion

There are big hurdles that young artists must surmount: artistic expression being a financial commodity and subject to business practices can create a challenging stumbling block. And yet Leiser is optimistic about the potential for young artists to excel in today’s marketplace. “There are many benefits to being a pianist today; technology has created wonderful new ways to reach the public and promote one’s artistry. Websites, effective communication by email, and professional recordings are accessible tools that should be taken advantage of.” And yet he encourages pianists not to be distracted and to stay focused on quality and artistry. “The definition of quality has shifted a lot in recent decades. An artist who maintains high standards while doing all they can to reach the public will be more able reap rewards, even if it takes more time.”

“If I had not had this ongoing passion for music and the piano, I don't believe that I would have been successful in accomplishing a number of the goals which I envisioned. When I started my career as a concert manager in 1964, I had no basic training, no working tools. I had only one single artist in the beginning, the renowned Arturo Benedetti Michelangeli, and representing him for his worldwide comeback was a "sink or swim" situation. In a sense, I was self-taught and had to rely on good instinct and judgment. If I can share what I have learned with a new generation of artists and make things easier for them, I will feel I have accomplished something worthwhile.”

Leiser is working actively to secure funding from Swiss and multi-national corporations to assist young pianists as well as other artists, while also continuing to educate the young musicians in seminars. “There are many corporations that donate generously to the arts today. If some of that money can be put to programs that provide the working tools to help artists create a sustainable career, as well as to creating new avenues for them to perform, then the young musicians of today will flourish at an unprecedented level, and the cultural world will reach new heights.”

With support the likes of which Leiser is providing, we are on our way to this becoming a reality.

(c) Mark Ainley

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