Tag: internship program

  • Interning with the 2012 Festival

    The Ojai Festival’s internship program was by far the highlight of my summer.  It’s three weeks of learning, making friends and gaining experience that feels more like a few days at the end of it.

    My euphonium teacher at UC Berkeley recommended the program to me – I told him I was looking for an arts management internship in Southern California and this immediately came to his mind.  I had known about the success of the Festival in years past, and I was sold once I found out about the internship program.  I actually applied late, having found out about the program in early May.  Luckily for me they had an open spot, and after e-mailing an application and a couple of short essays I interviewed on the phone with Jillian, the intern coordinator.

    Three days later Jillian informed me that I had been accepted into the program as a Marketing/Public Relations intern, something I was very excited about.  Then, after a little more than a month, I arrived at the Ojai Festival.  I actually arrived a week later than all of the other interns did, because I was to stay a week later to work on marketing-related projects.  Because of this, I arrived on Festival week – after three short days of introduction, it was time to dive into the exciting and fast four days of the Festival.

    I live near Ojai, but had never before attended the Festival, so it was amazing to me to see how well the event flowed and how smooth the planning was – and of course, how wonderful the music was.  During the Festival I did a variety tasks including handling incoming 2013 subscriptions, handing out and recording audience surveys, and taking photos during the Festival for social media purposes.

    The retail interns handled the large books both with CDs, the box office interns attended to the influx of ticket orders and will call, and every other intern had something specific to attend to.  Some handled special events, some backstage, some the front desk, and so on.  After a little over 72 hours, all of the events were done and Libbey Park no longer glowed with green lanterns.

    The next week, the final week for most interns, involved finalizing and approving what had happened during the Festival and getting ready to say goodbye.  We had become a little family over the Festival – the intern program had students from a wide variety of schools, from Washington to Texas, from the Bay Area to Southern California.

    Many interns come back year after year, but many do not because of scheduling issues.  It was such a great experience to meet people that have the same passions as I did and connect with fellow music lovers.

    I am very, very happy my euphonium teacher mentioned this program to me – I believe it has helped me greatly with my understanding of a successful non-profit and of the ways in which music events work.  I know I will be using this experience in my future internships and jobs with arts management.

    – Lauren Eales

    To apply to the program or for more information, click here.

     

  • Confessions of a Teenage ‘Metro Gnome’

    György Ligeti’s fluxus score to ‘Poème Symphonique’ spends little time discussing the performance of the work itself. Instead, he addresses a more pressing matter: acquiring 100 metronomes. Music stores, newspaper advertisements, and Maecenas are some of the sources that Ligeti encourages to bribe with program note recognition etc. If a rich patron were to simply buy Ligeti 100 metronomes, the piece would be “dedicated to him alone.”

    When Artistic Director Tom Morris pitched the project to me in 2007, he lowered the cone of silence. “We’ve located the metronomes, but now I need you to assemble a team to set them off at the opening night concert.” Six cardboard boxes of time-keeping devices had just arrived from a performance of ‘Poème Symphonique’ in Austin, Texas. We were armed and ready.

    Ten tables with ten metronomes each ringed the bowl at the opening night concert. Pianists Amy Williams and Helena Bugallo gave the signal to my team and the clicking commenced. While the sound of one metronome is regular and percussive, multiplied one hundred times, the result is quite different—imagine rain on a tin roof. But one by one, the upward pendulums froze until the heroic last stand of the final metronome. Beats away from death, the wooden pyramid hypnotized the audience. A long pause was observed when the last click sounded.

    View Ligeti’s score here.

    Albert Behar is a composer and past intern at the Ojai Music Festival. He is currently running around Paris with an accordion in search of jazz manouche. To find out more about his French alter-ego visit: http://accordion.albertbehar.com