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Medici String Quartet Article

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What was the goal of The Medici String Quartet?
it was to never to render a piece exactly as the composer intended, but to interpret it in fresh and new ways.
What happened at the workshop?
Paul asked each member of the group to talk about a part of the music that was particularly meaningful and the challenges involved in coordinating the playing of it," Austin says. Robertson has led the ensemble for, give or take, close to 40 years, but this past summer was their final concert tour as a group.
What drew the person into writing a business case that looks at the world of classical music?
Paul, in addition to being one of the great violinists ever, is extremely skilled in speaking about what he does. Talking with him at length for the case allowed us to unpack the process of innovation and the process of creative leadership. It was an opportunity to explore the creative collaboration of the quartet and Paul's efforts at creative leadership very close-up. The business researcher in me was looking for parallels with intimate creative collaboration in general.
Who was Sir Clifford Curzon?
a legendary classical pianist.
What did they learn from Curzon?
to destroy a piece by making a metronome play the wrong tempo; then they tried to play against it. They would come up with ways to make a piece harder to play and would keep adding constraints until they basically couldn't play it anymore. The idea was to rebuild it after they had destroyed it.
What was the Medici String Quartet's effort?
to prevent the formation of hard preconceptions that they would feel compelled to execute against.
Tuning
a function of the physics of the way scales are put together
What was the class Managing in the Creative Economy about?
The case was explored over 2 sessions. In the first session they discussed the case, and in the second, Paul talked with students about creative leadership. I think overall it was incredibly important for the students.
What was the metaphor about breaking the scone about?
It's about preparation. It's about professional ritual, rhythms, and disciplines that underlie the general approach to what they did with the music as well.
What connections did the students make to business?
That let the creative leader should focus on his innovation and creativity rather then depending solely on the customer.
How do commercial concerns mesh with creative authenticity?
This issue recurs in our research. Creative people feel that if they go too straight toward commercial interests, they won't even do their best at the commercial interests. I think this is in some ways a function of the way innovation works. You try to create value out of novelty. If you succumb too much to commercial pressures, you may lose your distinctiveness. If you decide to do the easy stuff, like accepting gigs with the commercial recording industry because you can play the notes reliably, ultimately you may find that you've lost your brand specialness.
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