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