Life in the ASO Boardroom
...When people think of boards they probably think finance which of course rates highly, but beyond that O’Loughlin also reiterates that fresh perspectives are needed when approaching the artistic direction of the orchestra, which is why in his mind a board made up of entirely artistically motivated people can be dangerous, although he is open to recruiting more artistic members as ASO players have suggested and he points to the recent appointment of Anthony Steel, a man with ‘tremendous international artistic and arts management’ experience as an example of this. Tim states that it is really important not to cut across artistic decision making: ‘it’s a counter balance that we are looking for’.
The Chairman likes to reflect on the make up of the Board regularly, like any smart leader he sees a constant turn over in members as important to the energy of the Board. He tells me he strives for a mix of backgrounds and is currently addressing some skill shortages within the Board to keep his ‘line of sight approach’.
O’Loughlin is a hard man to pin down, his schedule relentless with a daily itinerary that would bring most men down but he is clearly not ‘most men’. As a business man Tim is a smart one, his time is precious and in demand, his time has a purpose and when I meet with him following a six hour meeting he is focused and ready to talk his cause. The main ‘cause’ today for Tim O’Loughlin is ASO Community Connect, a special new initiative to bridge the gap between the ASO Board, ASO supporters, friends, donors and subscribers.
For Tim and the ASO Board, community rates very highly and is something which he and his Board feel strongly for at the ASO. ‘The ASO is about as community as it gets, subscribers and patrons are our lifeblood, but you want as broad support base as you possibly can get’. It’s this broadness and reach which Tim hopes to achieve with the ASO Community Connect event, where the barriers between board and its supporters will be broken down and focused on the ASO’s future. ‘I’d be more than gratified for people to ask where we think the orchestra will be in five years, but more importantly I would like them to tell us where they feel the orchestra should be in their eyes’.
O’Loughlin wants to keep the Board real and in touch with the community who generously support the orchestra. He says one of the issues when board members appoint board members is that ‘the board runs the risk in becoming alienated from its community, we are conscious to drive community relations’. When I push him for the ideal outcome of the Community Connect event he is optimistic saying that anything that is gained from the event will be an improvement and that the Board want people to come along and embrace the concept with an open mind. The metaphor is not so much about the big bang or stand out performance for Tim O’Loughlin; rather it’s about building strength and remaining alert to the challenges and striving for that high and success. ‘In 2008 the ASO is very much on a high but in the past the numbers and story hasn’t always been so strong, so it’s our job to keep the ASO on the rise’, he says with a calm confidence in his voice.
Mahler Doesn't Bite
by Paul Blackman, former ASO Contrabassoonist
The first time I ever played Mahler was during my tenure as the contrabassoonist with the New Zealand Symphony Orchestra nearly thirty-five years ago now. Up to that stage, during my musical studies, I had always felt Mahler’s music was up at some mysteriously higher intellectual level to which I could not aspire. Back then when music students would get together socially, it seemed that there was usually a group in the corner talking about Mahler; a group I would not join for fear of showing up my musical/intellectual inadequacies. These students were often those focussed more on music history studies learnt out of books, than the students like me, more focused on the practicalities of performing instrumental music at the highest levels one could achieve. My approach therefore was more about tackling the composition as a collection of sounds created by a composer, than the why and wherefore that books can tell you.
...So when I finally played my first Mahler, it was an enlightening experience that showed me that all my fears were unfounded. Instead of something unapproachable, I found that it was an expedition of luscious sounds with lyrical lines interweaving glimpses of nature’s scenes and torrents of human emotional experiences. I was knee deep in this stuff and enjoying every moment. And I was experiencing this through the role of a musician who needs to not only intimately know their own part, but through rehearsals and performances, become very familiar with the whole piece.
From a musician’s point of view, a Mahler symphony is one of the epic musical adventures. It is the complete package; a three, four or five course meal; a musical summit to climb. And when you have finished the journey, after the expressive ups and downs, perhaps a bit battered and bruised, you feel exhausted but elated at the sense of achievement.
To get the best out of the experience as an audience member, I feel you need to be relaxed and unhurried and let Mahler’s music wash over you. And that can be a challenge these days when many people seem to be in a real hurry and attention spans get narrower and narrower. But everyone needs time to unwind whether it is at the beach on holidays or at night in the concert hall. So leave your mobile phone at home, have that pre-concert drink, lower the stress levels and immerse yourself in the Mahler experience. But most of all, don’t be afraid…Mahler doesn’t bite!
Paul Blackman can be contacted at blackmanp@aso.com.au and is responsible for ASO Heritage, which welcomes photos and anecdotes from former ASO players and public.
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