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• Introducing International Chamber Artists!, Anna Batcke, September 28, 2006

Recent Press Releases

(CHICAGO) September 28, 2006...When Daniel Barenboim was packing up, giving his final interviews, and putting his last flourishes on his career in Chicago this past spring, Patrick Godon was doing what all good musicians do: he was listening.

Godon, who holds bachelors and masters degrees in piano performance from DePaul University, played under Barenboim's baton frequently as second pianist for CSO. He accompanied the orchestra on its triumphant 2005 European tour. He was even served cookies at the home of the maestro after he masterfully accompanied soprano Deborah Voigt in private rehearsals. So when the former CSO Artistic Director began publicly vocalizing his pessimism for the future of classical music in America - specifically with young people - the 27 year-old Godon took notice. A 9-year member of the Civic Orchestra of Chicago and a keen observer of the cultural climate, Godon was no stranger to the idea that classical music was dying in America. But the comments from Barenboim had a particular sting to them.

"We're talking about a giant in the world of classical music. He knows what he's talking about," remarks Godon. "So many orchestras and classical music organizations are struggling to attract, widen and retain audiences - you see it even among the best orchestras in the U.S. The musicians feel it. It's maybe the worst kept secret in the rehearsal hall," he continues, with a hint of his pessimism in his own voice.

But at the same time, for an effervescent, driven young man just embarking on his career, he couldn't let the maestro's pessimism go unanswered.

"When I read in the press that he predicted a bleak future for classical music in America, it felt like a challenge, especially to young musicians. And when Daniel Barenboim issues a challenge to you, you want to rise to it. He inspires people to excellence."

So as the curtain fell on Barenboim's career in Chicago, Godon began thinking of his own - and the careers of the many young musicians he collaborates with regularly. Appearing regularly with CSO, Civic, at Ravinia and with CSO's MusicNow group, Godon's performance schedule was already impressively booked. But Barenboim's comments inspired him to move forward with an idea that had been bouncing around in his head since his first solo recital in 1997. With the help of his wife, Keri - an accomplished musician in her own right - he began envisioning an organization and assembling a group of chamber musicians that would try to put some muscle to the problem of decreasing audiences and limited opportunities to play. He focused on creating a group that would make a substantial investment in the development and growth of music in newcommunities. And the idea for the International Chamber Artists (ICA) was born.

"I was anxious to play chamber music, but more than that, I was anxious to collaborate with musicians who I knew could rise to the challenge of playing at a world-class level," he explains. "And most of all, I was interested in playing with musicians that see themselves more than just artists, but as stewards of classical music - people who were ready and willing to take onthe responsibility to make sure that classical music thrives in the 21st century."

That stewardship - and the answer to classical music's "audience problem", in Godon's mind - lay in outreach, in the truest sense of the word. Looking at the cultural and social fabric of the city, he realized that outreach had to be more than just a tip of the hat to under-served communities - more than just updating repertoire and moving locations for performances. "I wanted to demonstrate that music has the ability to truly serve, in that it can offer tangible benefits in addition to emotional and artistic ones." Godon thought long and hard about the mission of ICA, and realized that in order for new audiences to invest in him, he needed to invest in them as well. "Music is collaborative - so marrying a philanthropic mission with music should be the most natural thing in the world."

The International Chamber Artists now consist of 16 artist-musicians who raise funds for and engage third-party organizations through performances. For the first year, the recipient of ICA's fundraising and collaboration partnership is the People's Music School, a Chicago organization that offers free music instruction to anyone who would like to learn. For Godon, the People's Music School was an obvious choice: it was an established organization with a mission near to ICA's heart.

"First off, as musicians, were all were students. We've all come from diverse backgrounds. Geographically, we represent 8 countries, and we've come up with differences in socio-economic conditions and cultural experiences. We were brought together through music, and through our instruction in music. The People's Music School is the embodiment of that mission here in Chicago, serving a diverse student population in Uptown," he explains. "The School is doing most of the heavy lifting of audience development - they're creating musicians and music lovers in Chicago. They're taking on the challenge of getting people involved in music-making whatever their background or experience with classical music. As an organization, theyembody the spirit we're trying to promote," he reports.

He was particularly excited that the People's Music School, the only school of its kind in the US, was based in Chicago. Godon is excited to be able to provide the People's Music School financial support, and an opportunity for some of their students to have a real-world experience in performing. Students at the school will be invited to perform short pieces at ICA events."Performing in front of an audience allows students a chance to deepen their experience of music. As a performer, I believe in the power of that experience to motivate you to want to learn more and grow," he says. "Most importantly, having that formative experience in music can lead to a lifetime of enjoying music and supporting the arts," he explains.

ICA is strongly committed to serving Chicago, but Godon hasn't ruled out looking internationally for causes and communities to support in the future. "I think to establish yourself as a truly potent organization, you have to stay nimble and involved with the world. Music is global and dynamic, so as an organization you must evolve and change. Moving around, looking locally and globally, sharing experiences... bringing them back, translating that experience through music - that's how you keep classical music fresh. That's how you keep your audiences interested."

Godon believes that audiences and donors will respond to the mission of ICA, and will have many reasons to come out to performances. "First and foremost, we have a commitment to the music," he remarks. "If we didn't have that commitment, we certainly couldn't offer any benefit to the communities and organizations we're trying to serve. We want to present chamber music of the highest caliber - we want to create experiences that are valuable and worth making an effort to see. Audiences will only respond if the substance is there. We hope to provide the best chamber performances in the city, in a city known for great chamber music." He points to a rich season calendar which includes Mozart, Tchaikovsky, Messaein, Britten and Brahms as proof of this commitment. But he makes it clear that the philanthropic mission of ICA shouldn't hurt in motivating audiences as well. "Essentially, by coming to our performances, our audiences are able to simultaneously support the arts and support building bridges, building community." He's confident of success. "Look how popular benefit concerts have become in responding to challenges and crisis." He points to programs and foundations that have been set up just to support the rebuilding of the arts community in New Orleans following Hurricane Katrina as proof. "I think what we're witnessing is a wonderful rebirth of compassion, commitment and philanthropy, in our country and in our world. I think philanthropy for arts and philanthropy towards humanity aren't in competition. They're in harmony."

The road of the new artistic director has not been without challenges. While enjoying preparing the concerts and working on difficult arrangements with his fellow musicians, he's had to go through the traditional non-profit hazing of assembling a board, filing for non-profit organization status, networking for financial support and meeting with tax attorneys, all of which take him away from music. But he's already proven himself a capable leader with strong organizational skills and a knack for finding resources. And his management is already gaining accolades by his supporters. Godon accepts the responsibility of running a new non-profit with joy: "I want to be a good steward of classical music, even from the beginning of my career. And in the 21st century, it's going to take a little more."

Fittingly, it is a commitment to music and mankind very similar to Bareboim's that fuels Godon's passion for leading the charge of chamber music's future in Chicago. "In the past few years, with all of the challenges society has faced, I can confidently say that music has proven itself to be part of the solution," he remarks, sounding strikingly similar to the maestro. "I want ICA to be part of the solution."

ICA's next performance is on Sunday, November 26th, 2006 at 6 PM at St. Gregory the Great Church in Andersonville. The concert will feature Mozart's Quintet for Piano and Winds, Leopold Mozart's Trombone Concerto, a Haydn Trio, and songs of Beethoven.