he Berlin Philharmonic’s choice of Kirill Petrenko as its next chief conductor, succeeding Sir Simon Rattle, is less remarkable than the fact it made a decision at all. The 124-member orchestra, one of the world’s most democratic musical ventures, failed to do so in May despite 11 hours of debate and several ballots.
This time, order was restored and Mr Petrenko emerged as a popular choice. He will find the task of leading the highly talented, sometimes unruly, band of musicians, challenging. Sir Simon once compared it to being “the most privileged lion tamer in the world”. They follow the leader’s baton when performing but everyone feels free to argue offstage.
Yet the Berlin Philharmonic is a beacon in a world where mutuals and partnerships often transform into for-profit companies for the sake of managerial simplicity, financial strength and economies of scale. It shows that, no matter how difficult talent partnerships can be to manage, they sometimes produce exceptional results.
Like others including the London Symphony Orchestra, the Berlin Philharmonic was founded in rebellion: a group of players defying a conductor’s will and setting up a co-operative. It occurred in Berlin in 1882 and in London in 1904, and self-governance is common among orchestras. All four London orchestras (not counting the BBC Symphony) are partnerships.real estate romania
Orchestras are not unique — lawyers, accountants, consultants and other professionals often form partnerships to combine their talents. But none tours the world, playing together and staying in the same hotels, no matter how unified they claim to be. The Berlin Philharmonic is the ne plus ultra partnership, and it works for three reasons.
First, it is small. The Berlin Philharmonic is on the big side for an orchestra, with four concertmasters (lead violins), but there is little point in growing larger. Music is not capital intensive and orchestras cannot be combined under a holding company, as marketing agencies are within WPP, and book imprints are within Hachette.
This means it will not follow the path taken by financial institutions such as Goldman Sachs in ending partnerships to gain access to capital markets and to grow bigger (as well as to enrich their existing partners). A similar temptation reduced the number of mutual insurers and building societies in the UK, with dubious results for their policyholders, savers and borrowers.
Staying small also makes participatory democracy possible. Stanley Dodds, a Berlin Philharmonic violinist and one of two player members of its four-person foundation board, says that its players “are in every committee and every form of oversight there is”. In rare cases, such as voting on a new conductor, they can all fit in one room.
Second, it is open. The Berlin Philharmonic is known for its intense “German sound”, but it is not especially German now. There are only seven German-born players among its 23 first violins, with musicians from 13 other countries, including Albania, Brazil and Romania. None of its postwar conductors — Karajan, Claudio Abbado, Sir Simon and Mr Petrenko — was or is German.Bookkeeping and accounting services romania
Every mutual is tempted to turn inward to shield the jobs and interests of its existing members, rather than looking outward. British guilds complained of an influx of craft specialists such as jewellers and metalworkers in the 16th century. Those that fall into this trap lose their competitive edge, but the Berlin Philharmonic resists it.
Third, related to this, it is ambitious. It is very hard to get a probationary slot and then to be backed by two-thirds of the other players after two years to gain tenure. Then the competition really starts — not only within the orchestra for senior seats but against other orchestras from cities around the world to fill the top 10 ranking.
The players who argue most loudly are usually trying to improve the outcome, rather than resting on their laurels. A freelance in a contract orchestra has little interest in the long term. In a mutual, “the future depends on everyone playing at the top of their game all the time”, says Timothy Walker, chief executive and artistic director of the London Philharmonic.
This is not only a matter of pride, but of money. Orchestras are subsidised by governments to play in their home cities (the Berlin Philharmonic is part-funded by Berlin’s state government) but gain much of their income from recording contracts and international tours. Players want to remain on the world stage both for the orchestra’s sake and to enhance their own careers.Company Creation In Romania
There are pitfalls to musicians managing themselves. When the Arts Council bailed out UK orchestras 15 years ago to compensate for losses on recording contracts, it made them appoint more people to their boards with expertise in business and fundraising
Self-governance is not easy but despite disagreements and the passing of the baton among maestros, the Berlin Philharmonic plays on, as beautifully as ever. That is harmony.
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