Enterprise, Inspiration and Designer Violins

It's a funny thing being a classically trained violist, honed on concertos and International competitions, and at the same time, passionate about an enterprise that includes creating a line of string instruments, and having to evaluate my moves like a business person. Most of my career I considered the two paths - music and business - to be mutually exclusive.  As an artist I felt it important to share music without calculation. As a business person I must calculate the effects of my decisions on a monetary level and my ability to get the general public to respond positively to my business enterprises. I think the only way I can make sense of these opposing impulses is through spirituality and finding a way to create value in life.

Having a spiritually humanistic path in life, I am inclined to think the most certain road is one forged with hard work & planning plus illuminated with compassion. I suppose that may sound idealistic but the reason it makes sense to me is because for me, gain isn't just monetary, it's also the ability to create value, put simply, do some good through one's personal pursuits.

And so, when I originally conceived this concept for a line of instruments, starting with 'Designer Violins' that could stimulate children artistically on many levels, it was because I knew it was for perpetuating a musical evolution in the 21st century and had to begin with the way children are taught music.  Reading, not long ago, an article in the New York Times tracing the careers of several Juilliard graduates 10 years after graduating, there was a significant number that had to find jobs outside their musical training.  While some analysts might speculate this is because of the dwindling job market, such an attitude places zero responsibility on the artist to remedy the situation.  From my perspective this was primarily because their musical training didn't adequately prepare them to survive upon graduation and so they may have lacked the tools to adapt.

Mind you, my own path hasn't always been easy, despite some glowing moments and doors now opening. But I think there was something really great about my talent and life being forged amidst the flames of reality and having to hopefully turn into a diamond in the process. Because in the end, evolution, in it's cruelest Darwinian sense means we must adopt to survive. And compassion teaches me I must contribute something of value at the same time.

And so, as the business side of my thinking cap goes on, I fret over one design, vs. another, wonder if people will be open I am certain my pet project to create a line of children's and adults violins that delights children's hearts, and gives professionals the creative tools to be part of the huge landscape of possibilities, I'm quite certain our baby is right in rhythm with the universe.
The time has finally come.

Music, Marketing and the 21st C. Violist

BLOG PART TWO

This past week has been exciting with the Arabesque Recordings  release of my new recording, ‘Sweet Thunder’, an album I’ve wanted to release for sometime.  Here’s the link:

http://www.arabesquerecords.com/

I guess it’s also amazing when a record label is interested in a violist, largely because we’ve often been treated like the ‘snoozer’ instrument although there are plenty of admirable colleagues who’ve helped to undo that image, along with my own contributions.  Certainly being relevant if not interesting and ‘marketable’ are valuable assets and considering the history of our instrument, may require some pioneering efforts.

That’s not to see that some of my very favorite music from Walton and Hindemith, Bach and many other composers, shouldn’t continue to find their way into the hearts of more and more people.  But the reality is that most people speak a certain language and relate in a certain way.  In many cases, these great classical composers may be an acquired taste and at the very least, requiring more than one listening to appreciate more fully.

But I think the challenge facing many classically trained musicians is a gift in disguise because if forces us to challenge the well-worn paths and forge new ones.  While doing so invites the risk of gimmickry or attention getting ploys at any artistic expense, I think the real path merges an understanding of the world we live in, together with the wisdom to do some good through our lives and art.

 For much of my career I concerned myself with how I could be a certain ‘ideal’ of what a concert violist was but somewhere in my heart I knew my path would inevitably be forged with my unique gifts and those included, not just playing the music, but experiencing it on a nos. of levels.  Being approached by Arabesque to record for them was a great sign of confidence for me from the environment, after years of struggling to find my voice and footing as an artist, given my unique path and musical interests in crossover/pop/world/dance and Jazz music. Amazingly enough, while there will probably always be some market for more typical kinds of classical artists, it’s interesting to note that the artists who are forging paths, creating unique sounds, and in particular going beyond traditional boundaries, are the ones creating real traction and interest in the industry these days.

Daniel Bernard Roumain is one of my favorite examples as is Elan Vytal, DJ Spooky and many others.

While being marketable has always seemed  abit unsavory to me as a goal per se, since it seemed to imply trying too hard to  be liked or to get over on the public, the idea that my music could find relevancy in the world and inspire and touch hearts, has always seemed like a real goal.

I discovered that the world opens up when we make up our minds that we will be the creators of our own unique path rather than waiting for our freedom to be handed to us on a silver platter.  And it has certainly become clear that it’s important to understand the times we live in and evolve so that we can survive.  Case in point is learning how to record myself and collaborate with artists around the globe via the internet. Years ago I never would have thought this is possible but over time it became obvious it’s a necessity.

It’s simply unrealistic to expect labels to front all kinds of money on an artist that may or may not pay off in the end.

 Learning to record my own music and collaborate on the internet as well as the music and projects I’ve worked on, is Darwinism in action, I suppose and survival of those willing to evolve.  If the trying economy and uncertain landscape of the classical music world has taught me anything, perhaps it’s this:  ‘Popular music’ means it appeals to many, and that isn’t necessarily a bad thing.  It might just mean I’m on the right track!