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Inaugural Issue featuring Jack Price at 30, Shlomo Mintz's South African tour, Alexander Kobrin, Building a Modern Marketing Infrastructure. Complete Roster Information and News and PRPRadioOne Programming.
Citation preview
Page 2 – 1/3 Stafmn Ad – Publisher’s Letter – Table of Cont
Ms. Eldredge’s 2014-2015 Season Engagements by arrangement of Price Rubin & Partners:
Brevard Symphony Orchestra – January 17 2015 Acadiana Symphony – March 21 2015 New Jersey Festival Orchestra – February 22, 23 2014 Marquette Symphony – May 2 2015 Pueblo Symphony – March 7 2015 Norwalk Symphony – May 16 2015
Universe is a bi-monthly magazine featuring the artists of Price Rubin & Partners in addition to related stories about the Concert Music Management Industry Universe is published by the Price Group LLC Executive and Administrative Staff
Jack Price Managing Director and Founding Partner
Marc Parella Partner and Director of Operations
Rebecca Petersen Administrative Assistant
Robert Hart Baker Consultant and Media Development
Chicago Management Group
Brenna Sluiter Senior Marketing and Operations Manager
Karrah Cambry
Senior Marketing Manager
Jessie Lyons, Marketing Manager Nathan Oakes, Marketing Manager CatieLeigh Laszewski, Marketing Assoc.
Ryan Anderson, Research/Data Entry Company Address and Contact Information Price Rubin & Partners 520 Geary St Suite 605 San Francisco CA 94102 Toll Free: 866-PRI-RUBI Email: universe@pricerubin.com Web: http://www.pricerubin.com ©The Price Group LLC – All Rights Reserved
Introduction from the Publisher
elcome to the inaugural issue of Universe Magazine, a bi-monthly
periodical focusing on the activities of the artists represented by Price Rubin & Partners. The concept of a regularly issued print magazine is in response to the assault that all of us must endure every time we check our email. According to the Spam Trends and Statistics Report by Kaspersky Lab, 7 out of 10 emails are spam, and spam
is the chief contributor to internet performance issues. The effectiveness in communicating with unsolicited bulk email has declined to the point that one study claims that for every 1000 unsolicited emails only 3 were opened and only 1 email was read from start to finish. Clearly email is no longer an effective means to market the arts, yet individual artists and concert organizations alike continue to rely on cheap, easy-to-distribute email as their primary means of marketing themselves to potential new audiences.
Price Rubin thinks differently, and the very core of our business is developing and nurturing relationships. The direction of our company is constantly evaluating our methods and altering course when necessary. And this means changing how we communicate with concert presenters and decision-makers in the industry who engage artists for public performance events. There is no better way to communicate than in person, directly, one-to-one, and our marketing staff connects with nearly 2000 individual concert presenting organizations each month. To complement our efforts with direct marketing and PRPRadioOne, we are now excited to present Universe Magazine.
In the coming months, Universe will focus on the accomplishments of our outstanding roster of concert artists along with featuring articles on performing arts organizations, presenters, innovators in the arts, and people who are shaping our industry. We will also invite guest contributors to add content in addition to announcing new products and services from Price Rubin and our partnered companies.
The first issue is devoted to our 30th anniversary. Jack Price who started the company in 1984 has a unique story. His determination to bring together a company of talented individuals dedicated to redefining concert management and arts marketing is a credit to the industry. We are also delighted to announce our collaboration with pianist Alexander Kobrin, first-prize winner of the 2005 quadrennial Van Cliburn International Competition and Maestro Shlomo Mintz who are also featured in this issue. Completing our first issue is a feature article on the company’s marketing and operations infrastructure and the unique way we handle individual artist campaigns.
I would like to invite you to participate. Your comments matter and it is my intention to share comments – both good and bad – from our readers in upcoming issues. So feel free to contact me if you have a suggestion, complaint, compliment, or just a comment. Marc Parella, Publisher
W
he day usually starts with a phone call. A humorous ringtone that
announces that the new day will be long and anything is
possible. This time the call is from his 13 year-old daughter Annarose who
informs her father that dance class is canceled because the
teacher is sick. Never mind. The day has started and before there is a chance to
get dressed, the phone rings again. Jack Price, concert
manager, knows this call is going to take a full hour. A general labor strike has been
called just hours before one of his clients is scheduled to
perform. After reassuring the violinist that the
presenter is obligated to reschedule the engagement and that the front office will
take care of it, Jack finally finds his way to the shower
and a hot bowl of oatmeal. He never makes it through the oatmeal.
“My job is part-time plumber, part-time
psychologist, and when I am not fixing things, I am working to develop
opportunities for concert artists. The concert business
is much like a fox hunt except I am the fox looking to foil the hunters.” The
hunters in this case is an entrenched classical music
industry where relationship-building is the key to upward mobility, and building unique
relationships is more than just sending out thank you
notes. It means Jack spends a lot of time on the phone and on the road to personally
meet music directors and other decision-makers who
engage artists for performances.
The mystique of Jack Price begins in the Desert Southwest as a concert
pianist prodigy who performed with the Phoenix
Symphony at age 11. Jack started life as Dickran Atamian, an Armenian name
few could pronounce, and by his 19th birthday Dickran
“Richie” Atamian was a household name having won first-prize at the 50th
Naumburg Competition in New York. “In those days,
the industry was different. Winning the Naumburg competition was a cultural
event. The story was picked up in
nearly 200 newspapers. Artists who won major
international competitions had
followings. Today a competition winner is lucky to get local
press. Winning the Naumburg was a
watershed moment in my life; I couldn’t believe how quickly
things changed for me.”
Atamian went on to perform a land-
mark Carnegie Hall recital where he gave the world premiere performance of a
solo piano transcription of Stravinsky’s famed ballet
score The Rite of Spring. He also signed an exclusive recording contract with RCA
and recorded The Rite of Spring the following year. A
tour of the Soviet Union followed. “I was managed by Bill Judd of the Judd
Concert Bureau. Bill was a long-time manager at CAMI
[Columbia Artists Management Inc.] who worked with Arthur Judson,
CAMI’s founder. Bill was old school and when he picked up the phone to book his
clients, conductors listened. He knew everyone in the
business and more importantly knew the stories and anecdotes that made
dealing with tough presenters possible. My own
training as a concert manager comes in part from what I learned from Bill.”
But Bill Judd was at the tail end of his career and
Atamian was one of his very last artists. The stress of 50 years in the business took a
toll on Bill Judd and had reduced his involvement in Atamian’s career sub-
stantially. That ended up hurting Atamian’s career.
After a couple years with CAMI and then with Harold Shaw, Atamian found himself
without major management. The dates dried up and
without a degree to fall back on, prospects were slim.
“Price Rubin is born out of
this period. The modern incarnation of the company
began as a result of needing some kind of organization to resurrect my career, and
what was missing from all
the years I spent with major managers was a major effort.”
Actually Price Rubin was gifted to Atamian. The
original company was a public relations and marketing organization
started in Hamilton Ontario by the original Jack Price and
his business partner Jerry Rubin. The original two owners managed all types of
marketing campaigns and even took over the publicity
for the 1974 Pierre Trudeau election. In 1984, the original Jack Price who was
retiring knew of Atamian’s plight and
suggested that he take over the company. The idea of assuming
Jack’s identity was something Atamian
thought of himself. “The whole notion of assuming a trade
name to manage a career was novel. No
one ever did that before. Promoters like Bill Graham changed
their name but most artists have managers.
There are a few big names who manage
themselves, but the industry has always frowned on the practice. Decision-makers
rarely talk directly with artists they do not know.”
After a stint at the University of Michigan as Artist in Residence, Dickran’s
full transformation from artist to manager to radio
talk show host to dance lesson chauffeur would take a detour. The concert career
that stymied in the early 80s was ready for a comeback.
From 1996 until 2007 Atamian had booked nearly 100 orchestral dates, all
Jack’s daily radio show features artists and presenters alike and is heard in 53 countries on Price Rubin’s own PRPRadioOne Classical/Jazz/Talk station.
procured by Atamian’s alter-ego, Jack Price, and
accomplished what few people in classical music could do: make a living
exclusively from concertizing. “Jack Price was created
out of necessity. I created not only a trade name, but a trade personality as I had to
be careful to keep a cover. Jack talked differently from
Dickran. Jack was authoritative, personable, full of antidotes, but often down
to business when necessary. Dickran was boyish, fun-
loving, always cracking a joke, and very much a L’enfant terrible.”
The Batman/Bruce Wayne lifestyle proved a challenge to
keep up. “Conductors who would speak to me as Jack a few hours before meeting me
as Atamian at the airport couldn’t tell that the two
persons were one-in-the-same. I really had to perfect the foil and there were times
when Jack’s phone mannerisms would take over
Atamian at a rehearsal. One day after a rehearsal the conductor who booked me
came up and starting to have a conversation. He then just
blurted out: ‘oh that reminds me I need to call your manager about your
contract.’ He takes out his cell phone and starts to dial the company number right in
front of me – which of course would ring to my cell phone
that was on me. Fortunately my cell was turned off for the rehearsal.”
A few conductors figured out that Jack and Dickran
were one and the same and most thought the idea was hilarious. Jack’s first clients
as a manager were conductors who appreciated
Jack’s intensity and near limitless knowledge of stories, scandals, and personalities in
the industry. The prospect of managing
conductors was different in the beginning. The company had fewer resources
employing a couple of part-time office people who mainly
handled marketing materials for music directorship searches. The company did
not yet have a dedicated marketing team or direct
marketing services. Jack spent most of the time working out podium trades
for his clients and in the early days of the business,
conductors on the roster conducted in Mexico, Spain,
Italy, Canada, and all throughout the US as a result of Podium Exchanges.
“Atamian got concerts because he had a name,
some connections, but more than anything he came calling with something tangible that
conductors wanted: a guest conducting engagement. To
get those trades, I had to make 100-150 calls a week to people in the industry trying
to find out who was doing what and what they were
looking for. In those travels I learned a great deal about
Continued on page 11
Brenna Sluiter, Senior Marketing Manager
Legendary violinist Shlomo Mintz is preparing for a two-orchestra, three-concert tour of South Africa this month. Russian violist Ivan Numerov has recital dates in the UK and the Netherlands. Acclaimed organist and harpsichordist Anthony Newman has also secured several recent engagements, including a recent sold-out recital at the Phillips Collection (Washington, D.C.), an appearance at the Spreckels Organ Society in San Diego, and on the Los Angeles Philharmonic’s Master Series at Disney Hall. Conductor Ronald Foster’s An Evening at the Ballet program will be featured with the Anchorage Symphony early next year. Conductor John Devlin has will be serving as guest conductor for All-State Orchestra events in several states. Pianist Sandra Shen will
perform with the Southern Arizona Symphony and Mission Chamber Orchestra this fall, Beatriz Boizan will make her debut with the Chicago Piano Foundation, and pianist Rika Zayusa is scheduled to perform with the Lebanese Philharmonic in Beirut. Ms. Sluiter is in charge of the Chicago Management Group and handles primarily major symphony orchestra marketing.
Karrah Cambry, Senior Marketing Manager Tenor Paul Williamson just returned from a successful audition at Tulsa Opera and I am working towards a full audition tour throughout Europe in spring 2015. His Carnegie Hall Debut performing the Beethoven 9th Symphony last December attracted a great deal of attention. Maestro David Handel just returned from an extremely successful performance in Bucharest with a sold out 4,000 seat house and standing ovations. He remains in the running for Music Director at two American symphonies. Soprano Laura Alonso Padin has been engaged for two title roles in Illinois in LUCIA DI LAMMERMOOR and DER ENTFÜHRUNG AUS DEM SERAIL. Price Rubin has secured Ms. Alonso’s debut with the Dallas Symphony this December 2014. Soprano Diana Jacklin continues to attract
attention from several houses including the Welsh National Opera where she recently auditioned. Ms. Cambry primarily handles opera and major symphony orchestra marketing.
Jessie Lyons, Marketing Manager
The highlight of my campaigns has been the Brazilian guitar quartet Quaternaglia’s Australian Tour with a sold-out performance at the highly-coveted Woodend Winter Festival outside Melbourne this summer. I am also working on a follow up tour for summer 2015 as several presenters were not able to participate in this year’s tour. Roberto Capocchi just performed with the Southern Arizona Symphony in an engagement arranged by PRP. Christopher Mallett and Robert Miller of the classical guitar duo, Duo SF enjoyed critical success at their Kravis Center debut this past April. I am also getting phenomenal interest in our new US-based Texas Guitar Quartet. Already we have engagements with the Abilene Philharmonic and a residency at the Guitar Festival of America annual event next year in Oklahoma City.
Ms. Lyons primarily manages the guitar roster and markets to series presenters. .
Nathan Oakes, Marketing Manager
2014 has so far seen an increase in activity by small-to-medium size organizations and presenters bookings. I am working with singer/song writer Peggy Duquesnel who performed at the Somethin' Jazz Club in New York. I have also been working on publicity and event promotion for Edgar Gabriel whose String Groove ensemble has been featured at a number of Chicago area venues. Lisa Kirchner is new to the roster and offers a classic jazz program. I am also very excited about working with Tajci Cameron on her US campaign as she is new to Price Rubin and has had an outstanding career in Europe.
Mr. Oakes is in charge of Jazz and Pop marketing and is a contributor to PRPRadioOne.
Accordion
Heli Siekkinen
Composer Cont. Lalo Schifrin
Conductor Cont. Antonino Artino Innaria
John Devlin
Bassoon Céleste-Marie Roy
Larry Groupé
Bradley Bosenbeck
Kim Diehnelt
Cello Allison Eldredge
Luis Jorge Gonzalez
Carmelo Caruso
Leon Burke
Bas Jongen
Mark Snow
David Benoit
Linus Lerner
Kalin Ivanov
Matthew H Fields
David Handel
Martin Akerwall
Cimbalo Mykhaylo Zakhariya
Michael Sydney Jones
Edward Benyas
Massimiliano Donninelli
Composer Amir Zaheri
Pamela Illanes Tatsuoka
Garo Avessian
Oliver Von Dohnanyi
Anthony Newman
Ronald Foster
Grzegorz Nowak
Robert Hart Baker
Charles Fernandez
Yaron Gottfried
Nicolas Coutan
Hideaki Hirai
Donald Yu
Conductor Aldo Bernardi
Jacob Chi
Rolf Bertsch
Fabio Antonelli
Alexander Vikulov
James Richards
Ronald Foster
Hummie Mann
Andrea Licata
Jean-Francois Gonzales-Hamilton
Steven Byess
Lars Graugaard
Anthony Newman
Jens Georg Bachmann
Toufic Maatouk
Toll Free 866-PRI-RUBI ext. 1
Email: jp@pricerubin.com
Conductor Cont. Walter Proost
Harmonica Jia-Yi He
Organ Anthony Newman
Mario Galeani
Yaron Gottfried
Harp Melinda Zak
Bruno Beafuils
Michael Sellers
Contra Bassoon
Susan Nigro
Harpsichord Anthony Newman
Jeannine and David Jordan
Michelle Kim
Ensemble PEN Trio
Jazz/Pop Al Chez
Piano Alex Slobodyanik
Mikhail Korzhev
Flute Valerio Fasoli
Burning Gums
Alexander Kobrin
Pervez Mody
Guitar Ahmet Sonmezler
Conrad Herwig
Beatriz Boizan
Rika Zayasu
Alvaro Henrique
Edgar Gabriel
Blandine Waldmann
Robert Henry
Lito Romero
JIggs Whigham
Bobby Chen
Sandra Shen
Robert Phillips
Lisa Kirchner
Chiu Yu Chen
Sohyoung Park
Roberto Capocchi
Peggy Duquesnel
Elena Ulyanova
Yaron Gottfried
Duo SF
Rick Vittallo
Enrico Padovani
Yoshie Akimoto
Duo Themis
Sarah Jane Cion
Gabriel Arnold
Piano Duo Firenze Piano Duo
Guitar Quartet Quaternaglia
Tatiana(Tajci) Cameron
Kathryn Woodard
TrevisanZaccaria Piano Duo
The Romeros
Uli Geissendoerfer
Katie Mahan
Viola Hong-Mei Xiao
Texas Guitar Quartet
Yaron Gottfried
Leslie Howard
Oleg Larionov
Ivan Numerov
Violn & Keyboard Perc. N2K – Katherine Cash/Norm Freeman
Roger Myers
Vocal Davies & Campbell Duo
Viola da gamba Vered Forbes
Evgenia Brik
Violin Chloe Trevor
Isola Jones
Christian Vachon
Laura Alonso
Cyrus Forough
Lu Ye
Elena Denisova
Marina Serpagli
Katherine Cash
Paul Williamson
Florin Croitoru
Diana Jacklin
Francisca Mendoza
Visit http://www.pricerubin.com for complete information on our entire concert artist roster
Garry Ianco
Giulia Brinckmeier
Joseph Gold
Salvatore Accardo
Shlomo Mintz
Jack Price at 30 the personalities who ran the Concert Music Industry and their
stories would become the antidotes that I came to rely on to develop relationships – just
like Bill Judd did a generation earlier.”
In 2001 Jack Price stopped marketing Atamian. The aftermath of 9-11 and the birth of
his second child Anna Rose prompted him to take a good long
look at a career that required extensive traveling. “I wanted to raise my kids and going off to
perform another Brahms D minor Concerto was no longer
something that excited me. The music meant a lot to me but getting on an airplane after being
stripped search was something I didn’t need any more. But I had
built up a pretty significant brand with Atamian and bookings extended through 2004. In 2007
I stopped completely. I was done with concerts.”
Jack Price was now on his own as his alter-ego had finally
retired. The next challenge was to build Price Rubin into a major arts marketing company,
something the original Jack Price had hoped for when he gave
Atamian the enterprise back in 1984. But Jack knew he had limitations and organizing a
company of people and dealing with the day-to-day issues of a
front office was not something he could do. “There was only one person I knew who could take the
company past my bedroom office and that was Parella.”
Marc Parella became an equal owner of the company in 2009 and developed the company’s
Premium Management Direct Marketing Services. “Parella had
a unique skill set. He had been in the management industry on and off but spent the bulk of his
career in the IT industry in Silicon Valley.
Maestro Mintz returns to South Africa after a 15-year absence. His first appearance is with the Cape Town Philharmonic August 21 2014 and then two performances with the KZN Philharmonic in Durban on August 28 and then a repeat performance at Hilton South Africa on August 31.
Born in Moscow in 1957 Shlomo Mintz has emerged as an icon of the concert stage. His legendary Deutsche Grammophon recordings have garnered worldwide acclaim and many top awards including Diaspon D’Or and Grand Prix du Disque.
For more information on Maestro Mintz including information on his Online Academy visit:
http://www.pricerubin.com/classical/index.php?summarynumber=615
Price Rubin & Partners has arranged a 3-concert tour of South Africa for legendary concert violinist Shlomo Mintz. Maestro Mintz will perform with two orchestras in three separate performances of the Mendelssohn Violin Concerto with Theodore Kuchar conducting.
Maestro Mintz appears
on the cover of Cape Town Orchestra’s Concerto Magazine.
Cape Town Philharmonic – August 21 2014 Cape Town KZN Philharmonic – August 28 2014 Durban KZN Philharmonic – August 30 2014 Hilton
Continue on page 16
Alexander Kobrin A New Voice in a Grand Tradition
or most people the road to Fort Worth Texas is Interstate 30. For
pianist Alexander Kobrin his journey to the East Texas city started in Russia. At age 5 he enrolled at the Gnessin Special School of Music in Moscow and by age 19 he had already made headlines by winning first-prize of Busoni Competition in Italy, a competition that rarely awards first-prizes. By 2005 Alexeander’s course was set as a favorite to win the Cliburn competition. He did just that. Taking sole first-
prize of the 12th quadrennial Van Cliburn International Competition.
“The Cliburn competition is an excellent project compared to other competitions…[the organizer’s] go out of their way to make you feel a part of the festivities.” , Kobrin adds.
Among Mr. Kobrin’s recent engagements, he has performed with the New York Philharmonic, Dallas Symphony, Tokyo Philharmonic, Orchestra de la Suisse Romande, and a number of major recital series
including Bass Hall, Washington Performing Arts Society and the Revinia Festival outside Chicago. His recordings include an all Chopin CD performing the Scherzi and the Fantasie Op. 49 and an all-Rachmaninoff CD.
An interview with Mr. Kobrin can be heard on the Jack Price Radio Show and complete information including video from the Cliburn Competition is available on the Price Rubin website at: http://www.pricerubin.com/kobrin
F
n the science of marketing, timing is everything. That old adage: “being at the right place at the right time” has contributed to more success (and failure) than probably any other phenomenon in business. What if legendary actress Lana Turner decided not to skip class that fateful day.
She undoubtedly wouldn’t have been discovered by William Wilkerson, publisher of The Hollywood Reporter. Her boredom with her high school typing class caused her to seek refuge across the street at the Top Hat Malt Shop in her infamous encounter with fortune. Why William Wilkerson, publisher of a major industry periodical was there is anyone’s guess. But because of that very special intersection of the space-time continuum, Lana Turner ended up starring in over 50 feature films and became a legendary Golden Era actress.
Success in the ultra-competitive arts profession doesn’t rely on chance encounters; it relies on planning, analysis, innovation, and plain hard work. The modern success story is built on pillars of innovation, and while luck is a contributor to the classic success story, luck is usually found in determination.
So that other adage: “the harder you work, the luckier you get” applies here too.
I
Price Rubin’s
determination in building the modern marketing infrastructure for the Performing Arts Industry is attributed to both the above adages. And being at the right place at the right time requires a level of coordination in managing complex marketing campaigns. With over 100 individual artist and ensemble marketing and publicity campaigns ranging in targets from major symphony orchestra buyers to small-market church and community-level presenters to jazz festival and club events, Price Rubin’s infrastructure relies heavily on custom-developed software and a cloud-based infrastructure that can deliver real-time, up-to-the-minute sales and contact information to our entire company.
Servicing our clients’ accounts and media requests is Price Rubin’s SCORETRAK Enterprise Resource Planning system. A web-based, custom application, SCORETRAK provides an internal tasking system that assigns individual tasks to staff members
depending on the individual need of the client. SCORETRAK interfaces to the Price Rubin website where media and text changes are made. With nearly 150 media update requests a month for changes to press kit and publicity materials, web content requiring time-specific
deadlines, SCORETRAK makes it possible to coordinate the needs of our clients with the resources of Price Rubin.
Complementing SCORETRAK is Price Rubin’s interactive web site featuring approximately 1200 audio and video links with video streaming from our custom-built YouTube and Vimeo API video player. As video is added, the API automatically inserts title, timing and thumbnail image of each new video. Price Rubin’s web delivery system is capable of hosting listings with nearly an unlimited number of audio and video links. Media content is delivered using HTML5 for
maximum interoperability. Updates to content on the website have been simplified so any staff member with limited computer skills can make changes. HTML is not required.
But going to the very heart of Price Rubin’s
marketing infrastructure is TUTTI, a windows-based application that connects to a central data repository storing more than 9800 concert presenting organizations along with 15,000 staff names. TUTTI
also contains contact information along with a powerful set of Contact Management tools allowing for individual campaigns to have separate tasks, sales notes and assignments. Because being at the right place at the right time requires knowing when to show up, tasks in Tutti are time-sensitive directing who to contact and with what materials to deliver.
With the fact that every concert presenter has a unique booking cycle, programming needs, budget and funding limitations, and preferred methods of communication. Most
TUTTI–PRP’s main marketing application with nearly 10,000 concert
presenting organizations and complete individual campaign data.
The pressure to present sold out concert events can mean the difference from continued corporate and individual sponsorship or closing the doors on the next season.
concert presenters want information on artists’ recent performance schedules, attendance figures, current publicity in determining the strength of an artist’s ability to draw audience. Presenters twenty years ago relied on publications like Billboard and Musical America to determine an artist’s marketability. Today a trip to YouTube immediately reveals whether a new artist has a rabid following or is yesterday’s afterthought.
Marketing must coincide
with the realties that talent buyers of all kinds are wary of artists unknown to their audiences. The pressure to present sold out concert events can mean the difference from continued corporate and individual sponsorship or closing the doors on the next season.
To address these needs, the modern marketing infrastructure therefore must be sensitive to the all nuances of the booking process that are rarely discusses in Careers in Music How-To Books and are critical to develop and nurture professional relationships. Subtleties such as adhering to booking cycles and windows, understanding
decision-making hierarchies (i.e., decisions made by committee or individuals) working in the maze of administrative cultures and the unique role that subordinates play on affecting decision-makers, targeting genre preferences presenters, communicating by mail, email, social media and the traditional phone call, being sensitive to presenter turn-ons/turn-offs, and most importantly scheduling follow up calls and emails with
attention to concert planning. Presenters like artists are all unique and marketing to them requires greater fidelity in appreciating their programming needs and how artistic talent serves to enhance the concert experience.
As it stands career building doesn’t happen with one call, or a chance encounter at a malt shop. It happens with developing a uniquely branded talent and a marketing campaign capable of being at the right place at the right time. Price Rubin’s commitment to building the modern marketing infrastructure continues.
Learn more on how Price Rubin is advancing artist
representation and marketing to the performing arts
industry by visit our website at http://www.pricerubin.com.
Jack Price at 30 He knew the business as
well as anyone but was motivated to be an innovator
and the concert industry had a tough time breaking away
from its 18th and 19th century traditions. I tried many
times to pull him away from the IT Industry but that Silicon Valley was too hot and
too creative for him to make the leap back into the blind
allies of the concert management business.”
Parella finally joined Price
Rubin after a near-fatal case of appendicitis that required
a three week stay in the hospital. “It was terrible time for him. The appendicitis
nearly killed him and on top of that he loses his contract
job in San Jose as a result of the extended hospital stay.
However inside of four
months Parella turns everything around and the
company starts to take off like a weed. We hire marketers, office people, a
webmaster, a graphic artist, travel to trade shows, take
out full page advertising in both Symphony Magazine and Musical America, develop
a brand new state-of-the-art web site, and of course later
on develop the radio portal and Universe magazine. The company grew 600% from
the last part of 2009 to the beginning of 2012. Today we
manage nearly 100 separate client campaigns along with
contracting concert events on three continents with a number of major symphony
orchestra engagements.” “What Marc and I knew
what artists needed most from management was exposure to the industry.
Exposure is a critical factor in shaping an artist’s future
success and artists need to
connect to the very people who should know them and
consider them for public performance. I had the luxury of worldwide publicity
and a major recording contract in the late 70s and
that was what created an immediate brand – and attracted managers like Bill
Judd. But had I had the kind of intense marketing that we
offer our clients, I would have enjoyed a much more sustained career after
winning the Naumburg. I really do believe that.”
“Artists today have the disadvantage of having to develop their own
connections. And many of these connections are not
with decision-makers who will engage them but relationships with other
performers and teachers – the very people competing
against them. When I was under management, managers didn’t develop
careers; they profited from the existing brand that a
competition or some other type of exposure could generate. Marc and I
wanted to change that, and the first step was to deliver a
direct marketing program where established and
promising concert artists were represented to a targeted segment of the
industry while at the same time receive detailed reports
on exactly what Price Rubin does for them.”
In July of 2013 the
company launched PRPRadioOne, a 24-hour
online radio format with its flagship program The Jack Price Radio Show, a daily
noon-time talk show with interviews from a variety of
different guests from
emerging artists to major decision-makers to Academy-
Award winning composers and producers. In its first year Jack has interviewed
250 people and the show today is now heard in 53
countries. “The show is about the
guest and what makes them
special. It is a chance for artists, presenters, decision-
makers to reveal something unique about themselves that a written bio or a website
could never disclose. It is a chance for the guest to
connect with a sympathetic audience. Often we take a trip down memory lane or
talk about their future plans or opinions on a variety of
different subjects. The internet or social media will never replace the need for
people to talk to each other and that is what my radio
show does.” Jack Price says his show is
the perfect complement to
his role as a concert manager as it gives him a needed
respite during the day from his work as a plumber/psychologist/all-
purpose handyman. What is next for Jack Price and Price
Rubin & Partners? He says the future holds many
possibilities. “We are fundamentally the same company that the original
Jack Price handed to me when he retired. We are a
marketing and public relations company, and our job is to connect with people
who engage other people. We are looking at a number
of options, but regardless of our direction, the company will retain its small-company,
highly-personalized roots. “ █
PRPRadioOne Program Guide
Listen to 24-hour PRPRadioOne at www.pricerubin.com/radio featuring commercial recordings and selective live performances by PRP artists along with industry talk radio. All Times Eastern
8am Morning Programming 9am Newman on Music(Thur)*
11am Today in Music Education with Anthony Masiello(Sat) 12pm The Jack Price Radio Show*
1pm Today in Music Education with Anthony Masiello(Thur)*
2pm General Programming 6pm Repeat: The Jack Price Radio Show 7pm General Programming 9pm Repeat: The Jack Price Radio Show 10pm Jazz Tonight 12pm Repeat: The Jack Price Radio Show 1am Overnight *Premium programming
New York Jazz Singer Lisa Kirchner is heard on Jazz Tonight 10pm featuring singles Red Wine and White Lies and Lights of LA.
Henry Fogel, former Chicago Symphony President and current Dean of the Chicago College of Performing Arts at Roosevelt University joins Jack each first Monday of the month on the Jack Price Radio Show 12Noon Daily
Each Thursday at 1pm Anthony Masiello engages in lively talk with today’s most intriguing movers and shakers on Today in Music Education
Newman on Music features Anthony Newman discussing Baroque performance practices and views on music. Thursday 9am
Italian Mezzo-Soprano Marina Serpagli performs standard operatic repertoire on PRPRadioOne Overnight 1am
Composer/Conductor Yaron Gottfried was awarded the 2014 Israeli Prime Minister Prize for Composers. Maestro Gottfried has guest conducted worldwide and most recently with the Portland Chamber Orchestra.
Robert Henry spent his 4th of July performing Gershwin’s Concerto in F with the Orquesta Sinfónica de Asunción under the direction of Leon Burke as part of the Festival Internacional de Asunción. The concert arranged by Price Rubin was sponsored by the US Embassy.
Jazz Singer/Pianist/Songwriter Peggy Duquesnel found herself in New York this past June performing at the Something Jazz Club. She is scheduled to performed at the Spaghettini Jazz Club in Seal Beach CA.
Pianist Bobby Chen’s upcoming engagements include the Beethoven Piano Society of Europe, the Lidkoping Music Festival in Sweden, and the Underground Theatre in the UK.
Soprano Laura Alonso will perform with maestro Oliver von Dohnanyi and the Dallas Symphony this New Year’s Eve. Ms. Alonso recently finished a residency at the University of Southern Illinois and a recent tour of China.
The Brazilian guitar quartet Quaternaglia returned from a triumphant tour of Australia. The tour included a performance at the Woodend Festival outside of Melbroune. It was Quaternaglia’s first appearance down under.
Legendary organist Anthony Newman performed at the Spreckels Organ Pavilion in San Diego this past June in front of 2000 patrons. Mr. Newman is performing at Disney Hall next January as part of the Los Angeles Philharmonic Master’s Series.
Price Rubin’s own Marisa Buchheit was crowned Miss Illinois this past June and will compete for the title of Miss America in September at Atlantic City New Jersey. We wish her well.
Violinist Francisca Mendoza will serve on the jury for the 14
th Int’l Violin Making Competition
sponsored by Fondazione Museo Del Violino Antonio Stradivari in Cremona Italy next year. Ms. Mendoza will also perform at the festival.
Pianist Sandra Shen who will be celebrating her fifth season with Price Rubin has two orchestral engagements this month. She will be performing with the Mission Chamber Orchestra and the Southern Arizona Symphony.
Conductor Hideaki Hirai made his Carnegie Hall debut last December. Price Rubin provided musician contracting services along with contracting tenor Paul Williamson. Maestro Hirai debuted with the Sofia Sinfonietta this year as arranged by our partnered agency BV Artists International.
Pianist Michael Sellers has been invited to perform at the Prima la Muisca Festival in Vincennes France next year. Mr. Sellers is also scheduled to perform at the English Reformed Church Amsterdam in November. Both events have been arranged by Price Rubin.
Violinist Chloe Trevor has been engaged to perform with the Southern Arizona Symphony in Tucson this season. Ms. Trevor will perform the Bruch Violin Concerto in G Minor.
Canadian pianist Beatriz Boizan is schedule to make her Chicago debut performing at the Chicago PianoForte Foundation October 14 2014.
Composer Fabio Antonelli has just released a new CD Opere Infinitesimali on the Taukay label. The CD features miniatures and sonatas for piano and cello. Selective tracks now playing on PRPRadioOne.
Price Rubin has secured a guest concerto engagement for violinist Lindsay Deutsch next February performing with the North State Symphony Orchestra in Chico California. Ms. Deutsch is not a member of the Price Rubin Roster.
September – October 2014 Roster News
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