Of the many different conversations I heard last week there were two underlying themes I found most compelling. First, there was a profound sense of self-examination regarding the role of the modern orchestra. Musicians, executives and trustees were asking fundamental questions that probed the very core of our tradition such as “what role does the modern orchestra play in the fabric of American culture?” and “should the orchestra of the 21st century remain essentially the same entity as the 19th century model we inhabit?”

I was inspired to do a little digging into the etymology of the word “orchestra” and discovered some interesting linguistic tidbits. The Greek word orkhestra refers to “an area in a theater where a chorus or dancers performed”. While this definition is similar to the modern notion of a “stage” it illuminates an ancient link between the performing arts; dance, drama and singing. An orkhesta implied a kind of collective of performing artists that shared a common space.

Even more interesting are the ancient Greek, Sanskrit and Persian roots of orkhestra which mean "to dance or to set in motion”, “to stir or to raise up", "to rouse", "to flow or run" and "a welling stream". These ancient cognates remind us of the powerful elemental forces and surging vitality behind the concept of an orkhestra.

After my visit to Cleveland I was inspired to imagine a modern orchestra as a collective of artists from different disciplines whose mission is to stir up feelings, rouse spirits and to inspire thoughts to run. This orchestra would play a vital and organic role in our communities. Its mission would include education (or as one participant said “illumination”) and the creation of an expanded social context for the arts.


The other issue I was most inspired by but which was only briefly addressed, was that of repertoire. If the modern orchestra is to survive as a vital artistic force it is essential that we adopt a broader, more inclusive view of what we play. Rather than defending a single cultural and aesthetic tradition we need to embrace artistic quality in various forms and invite greater diversity and innovation.

Furthermore, orchestras need to commission more works that reflect modern culture both here and in other parts of the world. As the orchestra evolves musical skills and styles will also evolve. It is essential however, to invite composers to help define the direction these changes are to take. Composers, along with conductors, performers and teaching artists are vital to the process of rediscovery and ultimately to redefining the art form itself.

Finally, I believe a radical shift needs to be made in the way orchestras are viewed by the public. Orchestras are largely associated with the “classics” and consequently our expectations are that orchestral concerts are, in essence, “repeat events”. Been there – done that.

By including artists from different musical worlds, using technology and new media and seeking greater community involvement, the very image of orchestras can change from “classic” to exciting, new and relevant. The most important ideas that any society needs to address are always a little dangerous and inspire controversy. Let’s find those issues and bring them to the surface both in and out of the concert hall.

Edward Bilous