Classical music enterprise in works

As the Charleston Symphony Orchestra continues searching for a way to resurrect itself and makes plans for a single-concert fall extravaganza, another classical music initiative is in the works, and some say it can hinder the symphony's efforts to regain a firm footing.

The symphony called it quits in March, canceling the rest of its season when it became apparent its cash reserves could not sustain operations. A series of public forums meant to assess levels of community support for the symphony wrapped up last month. A steering committee now is preparing recommendations based on those meetings.

Lorenzo Muti, the organizer of a new chamber orchestra, said his enterprise is not meant to compete with the symphony, whose future is uncertain. If the symphony should fail, the community would be left bereft of quality classical music performances, he said.

"In such a state of affairs, something needs to be done to provide the community with something musical," Muti said.

He plans to import the business model employed by the Chamber Orchestra of the Triangle, the Chapel Hill-based ensemble he has directed since 1988, enhancing it with contributions from Charles Wads-worth, a chamber music impresario who retired from Spoleto Festival USA in 2009.

Should the symphony succeed in reviving its operations, all the better, Muti added. Presenting good classical music creates a desire to hear good classical music, which in turn prompts more concerts that generate more interest.

"It's a win-win situation," Muti said.

The plan for the chamber orchestra was jointly developed with Wadsworth. The plan was described in interviews with both men.

--A single organization would be formed with two parts: a chamber orchestra led by Muti and a chamber music venture led by Wadsworth.

--The project would have a $300,000 budget from private donations.

--Freelance musicians would be used on a "per service" basis.

--The chamber orchestra would employ musicians from the local community and musicians from other cities.

--Wadsworth's series would employ musicians drawn from winners of the Young Concert Artists competitions and others with established chamber music careers.

--The purpose would be to provide Charleston with classical music concerts when the Spoleto Festival is not running.

--A total of nine concerts, one per month, would be offered, alternating between Muti's chamber orchestra (five concerts) and Wadsworth's band of chamber players (four concerts).

--Programming would feature music not typically performed by a symphony orchestra: chamber works from the Baroque era to modern times.

"We're not trying to overlap, imitate or completely copy (the symphony)," Muti said. Rather, the venture would seek to feature "very good but not often performed music, not the usual menu you hear every day."

Charleston audiences would benefit because they "can be exposed to what's happening in the music world," Muti said. They would get a chance to hear a variety of professional musicians from elsewhere, and be exposed to the chamber music repertoire.

Only professional players would be used, potentially providing extra income for some local musicians, Muti said.

"The entire enterprise should be an incentive for the symphony to reorganize for a better future," he said, adding that the concerns about competition were exaggerated. "We are not trying to compete with them; we are trying to offer a good product," to fill a vacuum with something different that leaves the door open for the symphony, he said.

Just because a neighborhood has a restaurant doesn't mean a bar can't open up nearby, he added.

Concerns

Reactions from community leaders, musicians and symphony management were mixed.

Some said any attempt to introduce a new classical music venture that uses out-of-town players when local musicians are struggling is unethical.

Others cautiously offered that more quality music would indeed enhance all quality music in town.

Symphony board Chairman Ted Legasey and board member Marty Klaper expressed concern that the new venture would at least result in some competition for local funding.

Ryan Leveille, spokesman for symphony musicians, said that, theoretically, it was "not impossible for two organizations to exist," though repertoire differences probably would not prevent some musical overlap.

A small symphony, the CSO now has fewer than 40 players, is obligated to play fewer Strauss tone poems and more baroque and classical music, which is scored for smaller ensembles, Leveille said.

He and several others were most concerned about how a new group would affect fundraising efforts.

"Under normal circumstances, assuming the CSO was just going on as usual, having another orchestra in town I don't think would be a big concern artistically," Leveille said. "But now I think you would understand that this would be a concern given the current situation."

Kathleen Wilson, a harpist with the symphony and its former interim executive director, has faulted the organization for relying too much on big donors, failing to make budgetary adjustments sooner and failing to treat musicians and donors with the full respect they deserve.

"We have more broken relationships than intact relationships," she said.

Also an obstacle is a cumbersome and inflexible union contract, she added.

While open about the faults of the symphony organization, Wilson offered an especially forceful response to Muti's enterprise.

"It's low, it's really low," she said. "And it's highly unethical. To bring in professional musicians from out of town while local professional musicians are out of work. It's low."

Wilson, who is a member of Charleston City Council representing District 12, pointed out that some symphony musicians likely would find secure jobs elsewhere if the organization doesn't resume operations soon, depleting the pool of professional players. Already, some are finding work in other markets, she said.

Art fuels art

Wadsworth said he thought the chamber music initiative was a good way for him to stay engaged in the Charleston community now that he is retired from the Spoleto Festival. He called the comparison between the symphony and the chamber orchestra "apples and oranges."

"The more good classical music you offer, the more audiences will go," he said. "If the quality is really, really high, there is no problem, it helps everybody."

Muti said no venue has been secured yet, but he hopes to be able to use the Dock Street Theatre.

He said competition with another chamber music group in town, Chamber Music Charleston, likely will be minimal because of scheduling and venue differences.

Muti's group will perform once a month on a stage. Chamber Music Charleston typically performs in churches and private homes, he noted.

Sandra Nikolajevs, director and founder of Chamber Music Charleston, said she was not very concerned about Muti's venture.

"I think the Charleston community really does like classical music," she said. "It's important to have a vibrant arts community, no matter how you get there."

Nikolajevs said her group has a busy season coming up with 50 performances scheduled. Many of the house concerts already are sold out.

Most important, she said, is to maintain open communication with Muti and other arts organizations who might present similar music concerts so scheduling conflicts and repertoire redundancies can be avoided.

Muti and Wadsworth are planning a debut gala performance for December, they said. The first season will be abbreviated.

Meanwhile, the symphony's newly formed concert committee continues to plan for a single, blockbuster fall concert.

A budget of $75,000 has been proposed, covering the cost of 83 professional musicians plus a chorus, according to committee chairman Daniel Beckley. Single ticket sales would likely cover most of the costs, though underwriting of $50,000 would be secured and used only if necessary, he said.

The concert, which would be organized outside the terms of the master contractual agreement between players and symphony management, would run about 90 minutes and include an intermission.

Musicians have indicated they are willing to discuss the project, Leveille said.

Reach Adam Parker at 937-5902 or aparker@postandcourier.com.