Orchestral Change

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We’re In This Together
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Can an Alien Save the American Orchestra? –Thoughts on “The New Model”
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Separate But Equal
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Ritual

We’re In This Together

Jan 26 2015
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Polly Kahn
Polly Kahn

Polly Kahn has long played a local and national leadership role in the arts community. Ms. Kahn joined the League of American Orchestras – the service organization for American orchestras - in March of 2000. As Vice President for Learning & Leadership Development, she oversaw the League’s artistic, learning, and leadership development programs and services, including the Orchestra Leadership Academy, Emerging Leaders Program, National Conference, Getty Education and Community Investment Grants, Music Alive new music program, constituent services, programs for emerging orchestra executives, online learning, and self-assessment tools for orchestras.

Prior to joining the League, Ms. Kahn served as the Director of Education for the New York Philharmonic, where she revised and significantly expanded the New York Philharmonic’s education programs. Previously, she served as Director of Education for the Tisch Center for the Arts at the 92nd Street Y and as Assistant Director of the Lincoln Center Institute for the Arts in Education. Ms. Kahn has also been a consultant to cultural and philanthropic organizations nationally, and sat on the boards of the Ethical Culture-Fieldston Schools, the Center for Arts Education, the Center for Educational Partnerships in Music, and the New York City Arts-In-Education Roundtable, of which she was a founding member. Currently she serves on the Board of Advisors for the Sphinx Organization and for American Voices. Ms. Kahn was honored as the recipient of the InterSchools Orchestras Award for Outstanding Contributions to Arts Education in New York City, and her 2014 articles were published as part of Americans for the Arts Animating Democracy series and in Symphony Magazine.

In June of 2014 Ms. Kahn stepped down from the League. She is now principal of PK Art Solutions/PK Orchestra Solutions, a consulting firm specializing in organizational and departmental planning; executive search; meeting and conference planning and facilitation; and career counseling for arts professionals. She also serves as adjunct faculty for the Chicago College of Performing Arts at Roosevelt University. Among her clients in 2014-15 are: The Philadelphia Orchestra, Eastern Connecticut Symphony Orchestra, John F. Kennedy Center for the Performing Arts, Washington Performing Arts.

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David Myers

Insightful, masterfully said, and at the core of what we need to hear and think about over and over until…

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For the past 14 years, Polly Kahn has served as Vice President for Learning & Leadership Development at the League of American Orchestras, where she oversaw the League’s artistic, learning, and leadership development programs and services, including the Orchestra Leadership Academy, Emerging Leaders Program, National Conference, Getty Education and Community Investment Grants, Music Alive new music program, constituent services, programs for emerging orchestra executives, online learning, and self-assessment tools for orchestras. Prior to her time with the League, Polly was Director of Education at the New York Philharmonic, and worked in education positions at the 92nd Street Y and Lincoln Center.

As Polly prepared to step down from her position at the League, she wrote a wonderful piece for Symphony magazine, which I featured on Polyphonic a few months ago. She described many of the ongoing symphonic community engagement programs around the country, and spoke with such an optimistic voice.

I asked Polly to write something for Polyphonic, reflecting on her many years working in our industry in so many areas. The article she wrote is deeply personal, raises some difficult questions, but beautifully describes the passion that brought us all to our professions.

–Ann Drinan, January 12, 2015

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Can an Alien Save the American Orchestra? –Thoughts on “The New Model”

Feb 14 2013
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Michael Manley
Michael Manley

A hornist, Michael spent his early years touring with “Miss Saigon," “Les Miserables," and The New York City Opera National Company..His service as a union steward sparked an interest in labor and representation, which led him to working at The American Federation of Musicians, where he headed the AFM's Touring, Theatre, and Immigration Services Division.

Michael was a 2006/2007 Fellow in the League of American Orchestras' Orchestra Management Fellowship Program, and was the League's Director of Artistic Programs following the Fellowship. He enjoyed working with many talented conductors, musicians and composers across the field.

Michael left the League to return to performing, and enjoyed a nearly three-year run with "Disney's The Lion King" in Las Vegas. While in Las Vegas, he served as a para-professional in the Clark County School District, working with young brass players in middle and high school.

Michael currently lives in Los Angeles, CA where he has recently re-joined the American Federation of Musicians, in the Electronic Media Services Division.

Michael has written about arts and labor for for the AFM’s International Musician, Symphony magazine, and Polyphonic.org.

Michael co-wrote, with Angela Chan, the one-act musical "Legacy of the Tiger Mother." It is the first musical to be set at a piano recital, and has enjoyed productions in Las Vegas, New York, San Francisco and Adelaide, Australia. www.tigermotherthemusical.com

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javelinda

I'm playing the ET Music with the New Amsterdam Symphony Orchestra 4/4/13... see you there? :D

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In this article, Michael Manley offers some compelling thoughts about the future of orchestral programming. He challenges us to break down the barriers of “art music,” “commercial music,” and “pops” and to be more open to including a wider variety of music on orchestral concerts. I think you will enjoy his writing style and his ideas for the future!

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Separate But Equal

Nov 02 2012
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Peter Sachon
Peter Sachon

Peter Sachon has performed all over the United States, Europe and Asia. Mr. Sachon played in the Hollywood Bowl Orchestra and has toured Europe and the U.S. with Pink Martini. He has played for the Broadway shows Fiddler on the Roof, The Light in the Piazza, High Fidelity, Legally Blonde, South Pacific, and Pippin. Mr. Sachon has performed with Audra McDonald, Victoria Clark, Deborah Voight, Rufus Wainright, Dee Snider, Billy Joel, Anthony Rapp, Judy Kuhn, and Josh Groban.
www.petersachon.com

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Polyphonic.org – The Orchestra Musician Forum – Separate But Equal

[…] At Polyphonic we always look forward to receiving one of Peter Sachon’s articles. This one is from 18 months…

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In this article, cellist Peter Sachon talks about the general trends of orchestral programming in the United States and how he feels they could be improved. He points to the separation of subscription and pops programming, and the general lack of “non-traditional” programming, which he suggests could include contemporary music, film music, musical theater, and more. Programming is certainly an important piece of the puzzle that needs to be considered when looking at the future and how we will engage our audiences. And in this article, Peter Sachon offers a compelling argument for innovative and bold programming.

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Ritual

Mar 01 2012
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Peter Sachon
Peter Sachon

Peter Sachon has performed all over the United States, Europe and Asia. Mr. Sachon played in the Hollywood Bowl Orchestra and has toured Europe and the U.S. with Pink Martini. He has played for the Broadway shows Fiddler on the Roof, The Light in the Piazza, High Fidelity, Legally Blonde, South Pacific, and Pippin. Mr. Sachon has performed with Audra McDonald, Victoria Clark, Deborah Voight, Rufus Wainright, Dee Snider, Billy Joel, Anthony Rapp, Judy Kuhn, and Josh Groban.
www.petersachon.com

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In the following article, Peter Sachon discusses the “rituals” and traditions associated with classical music performances and examines situations where perhaps new ideas could be implemented. Sachon tackles issues such as audience applause, general etiquette expectations, lighting, dress, and others. He argues that these traditions have created an atmosphere of elitism that is not welcoming for new and unfamiliar audiences. There is no question that these traditions are a hot topic of discussion right now, and Sachon makes a compelling argument for thinking about these issues and planning for the future.

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