Keep Going

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I had an interesting discussion with a group of students recently. The basic topic of discussion was this: “How long do you wait to ‘make it in the field’ before throwing in the towel? And similarly, how do you know when you’ve made it?”

To answer the question I relayed a true conversation I had with TV and film composer Mike Post in 1985 at a summer festival. When asked essentially the same question, he replied: “If it means that much to you, you must work hard, make contacts. and wait long as it takes. If you need to eat peanut butter sandwiches for years, you must do so if working in this field means that much to you.”
Sage advice. (I ate a lot of PBJ back in the day, BTW).
Another wise tidbit comes from the great cellist Janos Starker, who I had the privilege to hear speak in 2000: “Remember, there are many needs for musicians and teachers in every place in America. Do not delude yourself into thinking that you only are a success in this field if you work in New York, Boston, or Chicago.”
More sage advice. (I’ve worked in many places, none of which are the fabled places of success).
In truth, the students were shocked to learn that I’ve been rejected for most job applications I’ve submitted, (probably over a hundred, actually). Yet I’m still happily engaged in a career in the arts. In my relatively recent side-pursuit of writing, I’ve received more rejections than acceptances by a 3:1 margin. Yet I’ve still had a small number or works published, with increasing frequency. (If not in major literary journals, or “apex publications,”  at least they HAVE been published).

The importance of what we do is in the doing of it, or as the great writer Ursula Le Guin writes:

“Practice is an interesting word. We think of practicing as beginner’s stuff, playing scales, basic exercises. But the practice of an art is the doing of that art—it is the art.” – Ursula K. LeGuin

What we should learn from all our practice is that it is not about “perfection,” as the saying goes, but about perseverance. We must continue to do what we do, and we will likely learn and grow as much, if not more, from our mistakes, rejections, and less-than-perfect performances.

So, the lesson I’ve imparted, and learned myself, is basically this:

Keep Going.
If you build it, they will come…eventually
And,
We are all on a unique path that follows its own timeline. Don’t compare yourself to others.
Keep Going.
Hit the scores, practice the technique, dig deeper into your soul than ever before. Do your art every day you possibly can.
Network without the expectation of immediate return, say YES to opportunities; say NO to being used.
Keep Going

P.S. I also told the student who said he needed to make $200K per year right out of college in order to support his family that a career in the arts may not be the best choice for him, if that was truly his priority. Sorry, there are also deal breakers.

 

Copyright 2018, Robert Baldwin, Before the Downbeat

Image source: https://weheartit.com/entry/231170553

 

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Surrounded By Greatness

 

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Something I’ve noticed a lot over the years: The great performers, in any genre, who create new and exciting things, last across generations and put a stamp on the field do so by doing one thing—collaborating with other artists who are at least their equal or even sometimes better than themselves. From Arturo Toscanini to Frank Zappa, these musicians surrounded themselves with other great musicians, which allowed for them to realize an artistic vision. Toscanini wanted the best orchestra possible, so the NBC Symphony was an assemblage of some of the finest classical musicians of the era. This enabled him to further explore his own creative pursuits and provide performances at an unparalleled level. Frank Zappa did the same thing, as does Sting, Paul Simon, Yo-Yo Ma, Wynton Marsalis, and so many others.

It doesn’t matter what the personality traits of the artist in question. They can be autocrats, like Toscanini and Zappa, or great humanists like Marsalis and Ma. It is the assemblage that matters–the act of collaboration. And collaborations can be long or brief; maybe it is just for one performance or album, perhaps it is for years or an entire career.

We tend to think of these artists as super egos (even the nice ones). Certainly a certain amount of ego is necessary to perform. But, among those in the “truly great category,” few to none are threatened by other musicians, even those that may surpass their depth, skill or knowledge. Rather, they grow and thrive because they surround themselves with great talents. Yo-Yo Ma is the prime example of this.

Not that this is without its problems. The Fab 4 and the Guarneri Quartet both had well documented issues of getting along with each other, and yes, Toscanini’s tantrums are the stuff of legends. But there is something to be said for their successes as well. But besides the personality issues, there is something about the group dynamic that makes it worthwhile. The sum of the parts is greater than the whole.

What does this mean for a college educator, community conductor or chamber musician? EVERYTHING. While we may not have the resources of a great maestro or rock star to add already developed artists to our ensembles, we still strive to engage with the best musicians possible. We hold auditions to add new members to established groups to enhance the quality of the ensemble; we engage in new collaborations to open new pathways, and we develop student musicians into the artists to reach higher levels of achievement. And part of that equation is the charge to continually develop our students into better musicians. From our engagement, new performers and teachers will enter the profession, new ensembles will emerge, new art will be created.

And that, is why I love my job.

Copyright 2017, Robert Baldwin, Before the Downbeat

Julie’s Back: The Hills Are Alive Again!

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There comes a time when all the vitriol and social media scrums need to be backed up with action. And perhaps it is now time for those who really care step forward and do something about it. Kudos to Julie Andrews, megastar over 6 decades, for stepping up with Netflix to produce a new children’s show that celebrates the Arts.

For my entire life, this talented artist has represented the highest standards for all that is good in the Arts. She represents integrity, quality and talent at the highest levels. Thank you, Julie Andrews and Netflix for continuing the tradition of inspiring young people through exposure to music, dance and theater! This link includes a preview to the show which is sure to appeal across multiple generations of arts lovers, both seasoned and emerging.

http://www.slate.com/blogs/browbeat/2017/02/10/new_trailer_for_julie_andrews_jim_henson_co_netflix_kids_show_teases_guests.html?wpsrc=sh_all_dt_fb_top

According to Wikipedia:

The show will star Julie Andrews (best known as the star of The Sound of Music and Mary Poppins fame) who will be joined by her assistant Gus (Giullian Yao Gioiello) and “Greenies,” a cast of original puppets built by The Jim Henson Company.

The episodes will include elements of the performing arts such as an original song. Furthermore, every episode will feature a guest star who will engage the puppets in a specific area of the performing arts. Guest stars will include Alec Baldwin, Sara Bareilles, Joshua Bell, Tituss Burgess, Carol Burnett, Chris Colfer, Robert Fairchild, Josh Groban, Bill Erwin, Ellie Kemper, Idina Menzel, Tiler Peck, David Hyde Pierce, and Stomp. The thirteen 30-minute episodes will premiere simultaneously on Netflix in March 17, 2017.

I, for one, will be tuning in, and possibly binge-watching this new show at a critical time for arts support in this country.

Danger: Learning Ahead!

11892276_10153305961961144_3684635102753878591_nWith the start of another year just days away, it made me nostalgic to notice my first music dictionary on the shelf last night. My private teacher in high school, Mr. Vernon Ashcraft, had stressed the importance of taking a music dictionary along to college. I was very lucky to have a teacher in my youth who instilled the importance of knowing terms, composers, and music history. Although I would soon graduate to more lengthy tomes, encyclopedias and indices, this little book represents the gateway. I often browsed through the book, each entry leading to an exploration through the pages and a journey across the ages.
I wax nostalgic not because the pages are yellowed, nor the binding cracked. (Although a little at the price: Wow, $1.95!). Rather, It is the remembered thrill of learning, something that lies ahead for all students who are open and inquisitive.