The fee for one top level concerto soloist is twice the TSO’s entire annual guest artist budget. Most of the others would put a serious dent in it. Are they really worth it? I have a hard time justifying paying the Classical 1% more for one night’s work than most of the 99% of gigging musicians make in a year.

It’s been an interesting week in the classical music world, and because I can’t make up my mind what to write about, I’m going to comment on three occurrences – in a format borrowed from a certain liberal TV journalist, “The Worst Person in the World” (Cue Bach’s Tocatta and Fugue in D minor).

So many people tell me that, by the time Christmas finally arrives, they're thoroughly sick of its music. What a shame.

The City of Tacoma, faced with a shortfall in its general fund estimated at $26 million, is considering a number of new revenue-generating measures, including a 5% admission tax on all arts and cultural events. I believe its potential revenue gain is outweighed by the problems it would create.

I know it pales in comparison to unemployment rates, the war in Afghanistan, and global warming, but noise pollution is on the rise and getting worse every day.

It’s been about a year since I wrote a blog post about the lack of respect afforded to musicians in today’s society. Time for another installment.

"Collaboration" is a word that gets a lot of air time these days. Every foundation wants the organizations they fund to collaborate with others. But for most nonprofits, collaboration is learned behavior.

Should music be held as a purely abstract art form, or is it sometimes inherently political? It depends on the context.

The emphasis on showmanship and visual elements, so common in the world of pop entertainment, is absent in the realm of symphony orchestras and other classical music organizations. Is this a good thing... or not??

The great Latvian violinist Gidon Kremer caused a bit of a sensation recently when he abruptly canceled his appearance at the annual Verbier Music Festival in Switzerland in protest of its air of “sensationalism” and emphasis on celebrity status.

Michael Tilson Thomas was right when he observed that "great music only happens when a great many people want it to happen."

A recent outbreak of cellphones at a concert prompts a prominent composer to call for the punishment of "artistic terrorists."

Our favorite Choral Correspondent, guest blogger Claudia Finseth of the Tacoma Symphony Chorus, is back with insights into our upcoming concert in collaboration with Peace Community Center, held at the Urban Grace Church.

Those of us who care about the Arts need to make sure we understand and effectively communicate its far-reaching impact on the community.

Maestro Harvey Felder’s recent announcement that he will step down as Music Director at the conclusion of the 2013-2014 season came as a shocker to his many friends and fans here in Tacoma. It has resulted in an outpouring of goodwill and gratitude toward the Maestro for all he has done for the TSO and Tacoma.

Guest blogger Claudia Finseth, a member of the Tacoma Symphony Chorus, shares her insights on Mozart's Requiem.

Listening to music is a lot like being a gourmand: what one likes and appreciates evolves over time. Like acquiring a taste for different foods, you can learn to appreciate composers and styles that did nothing for you formerly.

The way people talk in the classical music industry, you'd think every concert is this deep, transformative musical experience. But sometimes, the emperor's just wearing jeans.

What would happen if an orchestra gave up the business model of selling artistic excellence to consumers and adopted a new one focused on serving its community? Let's find out.

It’s fine to enjoy an occasional free concert, but you can feel especially proud when you buy tickets to a local arts event. Every ticket you buy helps keep the many unsung musical heroes working in our midst.

Our new Strategic Plan is taking shape, and our future direction is beginning to emerge, like a custom vehicle lovingly made in our own shop. If the Strategic Plan is the body, the Business Plan is the chassis. And in order to really make this new vehicle go, we need one specially built.

Apparently there were some people at Friday evening's Messiah performance who never got the memo about not clapping between movements.

Professional orchestras in America are struggling to develop new financial models that support their mission. Here at the TSO, we need to understand the existing model before we can move beyond. Executive Director Andy Buelow explains our financial model in simple terms and sets the stage for the exploration to follow.

There's a lot of talk these days about new models of sustainability for orchestras. In order to sort the good ideas from the half-baked ones, we need to understand the existing model -- starting with the wrongheaded notion that if only not-for-profits ran themselves "more like a business," they wouldn't always be asking you for money.

I object to the orchestra world’s obsession with size and rank as a measure of quality. The most exciting concerts are the ones where every musician is straining beyond their limits to turn in their best. This has nothing to do with size.

In the music profession as a whole we place so much emphasis on virtuosity of performance that sometimes I think we heap shame on the amateur practice of music. In effect, the message we send is “don’t try this at home.”

Remember Rodney Dangerfield, the perpetually downtrodden figure who could "get no respect"? Try being a professional musician.

I was calling new subscribers -- on Election Day, of all things -- and I spoke with one person who reminded me what this Orchestra business is all about.

Many people misunderstand the nature and purpose of music criticism. I'm no expert, but here's my take on why it's important.

This is the first post in the TSO's new weblog. In it we outline the topics and parameters of the blog and explore some of the significant things about the season opening concert on October 23.