A message from Conductor Julian Pellicano from "Play for Japan"

Since the devastating March 11th Great East Japan Earthquake, the outpouring of support and aid from around the world has been astounding. However, for the millions of people who have been directly affected by the unfathomable destruction of this natural disaster, humanitarian relief is still a persistent necessity, and any return to normalcy remains a distant reality. At 9.0-magnitude, this was the most powerful earthquake to have ever hit Japan and one of the five most powerful earthquakes in the world since modern record keeping began in 1900.  The degree and extent of damage caused by the earthquake and resulting tsunami were enormous, most of the damage being caused by the tsunami with waves reaching up to 24 feet.  

The statistics on the number of confirmed dead and persons still missing are staggering and painful to read. We perform this evening with sympathy, concern and hope for those impacted; and it is to the people whose lives were lost and whose lives have been severely and irrevocably disrupted that this concert is dedicated to.

This concert is the second in a series of benefit concerts entitled “PLAY FOR JAPAN”.  Immediately following the disaster, this series was started by a group of Japanese professional musicians from the Boston area.  In addition to raising funds for the victims and for the rebuilding of the devastated area, the musicians would like to share with the public their deep connection to Japan and sympathy for those affected by this violent natural disaster.  

All of tonight’s performing musicians and composers have devoted their time, effort and talents for this performance. In addition to Longy faculty, students and alumni, the ensemble represents a large cross-section of Boston’s musical community with musicians from the Boston Symphony Orchestra, A Far Cry, Emmanuel Music, Discovery Ensemble, Red Line Brass Quintet, Harvard Bach Society Orchestra, The Plymouth and Rhode Island Philharmonics, the Atlantic and Lexington Symphonies, New England Conservatory, and Boston University.

I believe that this confluence of musicians, organizations and your presence with us tonight is representative of how in the face of grave suffering, the most noble characteristics of our human nature emerge.   It is also a testament to the tangible and metaphysical healing nature of music; metaphysical in the desire that the spirit of our performance will reach those who are far away and in need of hope at this time.

We thank you very much for your generous support.

Julian Pellicano, conductor
The musicians of the Japan Relief Orchestra
The “PLAY FOR JAPAN” staff

The Writing is on the Wall - A New Orchestra Business Model is desperately NEEDED!.

The Philadelphia Orchestra Association files for chapter 11 bankruptcy protection

With the Philly Orchestra filling for Bankruptcy protection, it becomes clearly evident that no one is safe and that a New and Different business model for the Orchestra is needed.

How about an Orchestral Organization that is devoted FIRST to education and building its core audience through education and SECOND as a Performing entity. A lot of musicians balk at this idea, but it is the fundamental principal upon which "EL SISTEMA" was founded in Venezuela and you can see how well they are doing, in spite of the difficult socio-economic conditions with which they labor.

I think it is really difficult for us Artists to understand that we must GIVE first in order to receive. We are so accustomed to receiving that we forget a fundamental principal behind any artistic endeavor, which is to share and give. Yes, we give when we perform but if that performance is accompanied by the fact that we are also acting as Role models to future generations, then more Power is generated to sustain the Organization.

This is a tough conversation and the end result of the negotiations in Detroit clearly shows that it is tremendously difficult for us Artists, to position ourselves as a Community Building organization rather than a Performing one.

What do you think?