Entropy is the Second Law of Thermodynamics (also known as the entropy law). Here’s the jargon:
A measure of the amount of energy in a physical system not available to do work. As a physical system becomes more disordered, and its energy becomes more evenly distributed, that energy becomes less able to do work.
Source: entropy. (n.d.). The American Heritage® Science Dictionary. Retrieved May 18, 2008, from Dictionary.com website: http://dictionary.reference.com/browse/entropy
Entropy is in particular characteristic of a closed system. Orchestras are, arguably, a closed system. They use unique funding mechanisms, have unique ways of hiring and terminating employees, have a language that is “spoken” fluently only after years of high level training (though easily understood with little or no training), and other than concerts have little or no interaction as an ensemble with the outside world.
Orchestras do exist, to an extent, in a vacuum. If left to their own devices, they would follow the entropy principle and dissolve into ineffective, chaotic systems. Think of a piping hot cup of fresh brewed coffee: you add your cream and sugar, enjoy a few sips while it’s hot, and then the mug sits on your desk for an hour or so. You come back and find the coffee lukewarm or cold, and with clumps of coagulated cream floating on top, with a slick of some oily substance for good measure. Entropy has taken place within the liquid in that cup of coffee.
Entropy can act within orchestras as well. Boards can grow weary of the constant fundraising that is required to keep an orchestra running (the unfortunate bales of hay that feed Mr. Beadle’s ailing dinosaur). Musicians can burn out, or grow weary of ineffectual or tyrannical leadership, and managements can suffer from leadership that’s either all vision and no nuts-and-bolts, or all day-to-day with no long view.
Orchestras need constant revitalization – it’s not that hard to imagine why, when we commonly play music that ranges from the late 17th century to the early 20th century, with rare forays into works written in our lifetime (or the lifetimes of our considerably older subscriber base, for that matter). We play instruments that, at least as far as the strings go, were invented 300 years ago and have changed little since then, either in construction or execution.
Varied stimuli are a necessity: we need artistic leadership which stirs up the pot – vigorously when necessary, laid-back when called for, and always with a deep sense of humility and devotion to the music and the community.
We need managerial leadership which has a deep love for the art of performing symphonic music, expertise in managing a not-for-profit organization, charisma, and a vision for the future of the organization.
Our board must be filled with music lovers, brilliant business people, civic leaders, and pillars of the community – and they must regard themselves as stewards of the tradition of fine orchestral music in their community, where failure is not an option.
It seems like we’ve got much of what we need here in Portland. Elaine Calder is making a huge effort, along with the rest of our management team, to get our ducks in a row and ensure that we’ve got a firmer footing on which to build our future. Our board is a very proactive and smart bunch of people who love music and are dedicated to keeping a full-time professional orchestra in Portland. Our music director is a tremendous musician who has done an amazing job of building the orchestra and raising its level to unprecedented heights.
So where are the danger areas? There are a few red flags, and while they are relatively small, it’s not clear how much of a role they’ll play in the future of the Oregon Symphony.
1. Where is the visionary who has the compelling view of the future of the orchestra that can inspire people to give even more of their time, sweat, and money? Vision doesn’t necessarily sell tickets, or build concert halls, or make wealthy people hand out blank checks, but it does offer that intangible sense of excitement that comes with the view that something extraordinary is happening here – get in on it while you can!
2. Where is the person or persons with extraordinarily deep pockets who could be the orchestra’s savior? In San Diego, Irwin Jacobs, the CEO of Qualcomm gave the orchestra $120 million dollars, $50 million of it given over five years, the rest as a bequest. The Philadelphia Orchestra gets regular gifts from the Annenberg family and foundation in the tens of millions of dollars. Where is the culture of giving as a source of pride amongst the wealthier members of the community?
3. Where is the innovation? It’s not necessary to reinvent the wheel, but it could be possible to make the usual round model out of new and unique materials and components. Portland has such a vital mix of all the arts, combined with a pioneering, free-wheeling, experimental sensibility. Might it be possible to integrate the prevailing Portland zeitgeist into how our century-plus old ensemble functions?
These questions aside, after watching the deliberate killing of the orchestra in Columbus (where entropy was actually encouraged by not hiring an executive director for three straight seasons – three!!), it is gratifying to work in this orchestra and this city.