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Scott Chamberlain

Minneapolis, Minnesota
Commenter for
1 year 22 weeks

Recent Comments

Howard, your broad point about having an orchestra we can afford is true—obviously, every non-profit organization, or business for that matter, has to live within its means. But I would disagree with some of your particulars.

First, you also seem to suggest that young musicians are no different from veterans, and quality won’t suffer if we use them. With respect, would you advocate the same scenario for, say, the Twins—argue that since it is a small market we should hire college...

Nicky and Greg, you've been great supporters of the Orchestra for many years. I say this with respect, but the musicians’ commentary can only “waste time and consume energy without producing any possible positive outcome” if there is only one result that can be considered a positive outcome.

President Henson presented his points to the public with a clear purpose of swaying public opinion in his direction. That is his right and a duty as a leader of one side of a labor dispute. But...

Mr. Henson, it is possible for you to have a legitimate point… one I may not agree with, but a legitimate one. What you have offered here is, with respect, a feeble lists of arguments that would only convince someone who already agrees with you. Let me explain:

“...this is very much indicative that our players need to actually partner with us sooner rather than later and accept those challenges.”

“Need”? How does one thing necessitate the other? The scenarios involved are...

“…we expected to use the Grammy nomination to maximize their arguments about the importance of art, we did not expect this.”

This, to me, feels like a new low in an already ugly labor dispute. Mr. Henson, the obvious rejoinder is they are *musicians* and their entire career has been predicated on the importance and value of art. What do you expect? This notion is also deeply offensive to the many patrons of the Orchestra (donors, concert-goers or both). They are attending the...

For what it's worth, I took the "them" in Hirman's statement as referring to the *management*, i.e. no one goes to a concert to hear *the management* do anything... not that no one goes to the orchestra generally. Although the author himself might be able to clarify.

While I think the sound inside Orchestra Hall earns all the accolades it gets, the overall reality is the building has some serious limitations. One problem is that the building isn't particularly accessible to mobility challenged concert-goers--or performers. Built before ADA accessibility standards, it is terribly problematic for someone in a wheelchair or with other mobility issues to get through the building and use the amenities. Not impossible, but clearly problematic. And some...