Posted by Tracy on July 03, 2003 at 23:52:36:
Amazing. This article is absolutely amazing. The dangerously shortsighted opinion of Bernard Holland is indicative of the ever-growing right wing philosophy in America. This idea is reflected in nearly every discussion about the performing arts in the United States, including music education. The idea is this: if you can't realize at least 100 percent profit from a particular commodity, the commodity will fail. This can also be compared to the Social Darwinism philosophy or simply, “survival of the fittest”. Many of my soon-to-be critics would say I’m exaggerating. If only I were. Make no mistake, the U.S. is a capital driven country, especially in this recession. More so than any other place in the world, the United States government is concerned about keeping the cash flowing. Don’t get me wrong; there is nothing wrong with our country revolving around the financial bottom line. I enjoy my home and my way of life, but at what cost?
First, I would like to talk about why and how the symphony orchestra made its way to America. I wholeheartedly disagree with Mr. Holland’s theory of “keeping up with the European Jones’”. Most of the major U.S. orchestras popped up around the beginning of 20th century. This was due to the large number of European immigrants that came to this country around and shortly before 1900. Many of these immigrants were musicians and carried with them the traditions and practices carried on by their European forefathers. This is what spawned the American symphonies, not some corporation looking to keep up with the competition. I do agree that these corporations had a hand in funding these newly formed symphonies, but so did philanthropists and yes, even the cities themselves.
So why can’t these same symphonies support themselves today. One word: profit. Remember, these orchestras were the pop music of their day. Look at the average American teenager. Suppose he has 20 dollars to spend. Do you think that he has ever said, “I was thinking of going to the symphony tonight, but I’m sick of Beethoven and Brahms. I want to hear new music by young composers.” No way. He’s thinking about blowing it on some pathetic teenybopper group or mindless bark rock metal record. He doesn’t know Brahms from Stefan Wolpe. This is why European orchestras flourish, while American ones die. Classical is part of the European heritage and is nourished by government and private citizens alike. Here, all we can think about is how much tax money it is going to cost us and who is going to pay for it. I mean, for goodness sake, we would spend billions to put a man on the moon for no practical purpose other than keeping ahead of the Russians, but, God forbid, the government spends a dime on symphonies or music education. Our economy is filled with pork barrel projects that serve no purpose than to line the pockets of various groups of people. Is it impossible to imagine that the performing arts are more important than paying someone to break ashtrays with hammers or buying $500 toilet seats (things this government has actually done)?
One last thing: symphonies aren’t dying because they won’t play new music. Let’s face it; the rich old philanthropist wants to hear Brahms and Beethoven and curses new music. Symphonies are dying because few Americans under the age of forty know or care anything about Classical music. That’s why they don’t spend money on tickets and records. That’s why the government doesn’t care, because we don’t care.
To be honest, I don’t know how to fix this problem. The only thing I do know is that is all comes down to how badly we want something and what we are willing to do to fix it. That’s the way it has always been in the U.S.A