Overview

Over the course of 34 years, Thomas W. Morris worked at the top levels of the symphony orchestra world, running two of the biggest and most famous, the Boston Symphony and The Cleveland Orchestra. He commissioned music from the world's most important composers, interacted with the greatest musical artists and produced thousands of concerts. He worked closely with Arthur Fiedler, famed conductor of the Boston Pops, bringing him into America's living rooms through the creation of PBS's Evening at Pops. He camped out at film composer John Williams' London apartment to persuade him to succeed Fiedler at the Pops. He presented multi-media concerts with Pierre Boulez and schemed with Oliver Knussen on programming and contemporary music. He collaborated with Christoph von Dohnányi at The Cleveland Orchestra to produce what has been called one of its ""golden periods"". In all of it he became obsessed with the art of musical programming and creative partnerships. But throughout, he had the growing realization that American orchestras had become ingrown on themselves, with rigid structures and cultures that conspired to perpetuate those structures rather than the music they were built to create and feed the audiences hungry for inspiration. Stepping back from running orchestras, he became a consultant, expanding his exposure to the inner workings of many arts organizations across the US and Europe. It confirmed his sense of institutional malaise. Looking to experiment with his evolving insights, he became artistic director of California's tiny yet mighty Ojai Music Festival. Its size, its setting, its unique structure and a history stretching back through a long line of some of the world's most innovative and influential musicians and composers made for a vehicle that could be both wildly creative and endlessly flexible. Over 16 seasons, Morris collaborated with an ever-widening cast of artists and thinkers such as George Benjamin, Leif Ove Andsnes, Mark Morris, Steven Schick, Peter Sellars, Vijay Iyer, Patricia Kopatchinskaja and Barbara Hannigan - each one forging fiercely independent and differing artistic paths but united in commitment to high artistry and innovation. Morris reimagined musical experiences by challenging all aspects of making music and producing concerts. As The New Yorker music critic Alex Ross wrote of the 2015 festival: ""To attend Ojai is to enter a happily topsy-turvy world where longtime patrons are as avid for new music as they are for classic repertory."" Always The Music is the fascinating story of Morris' personal metamorphosis through the highest levels of the world of classical music, his learning and insights into how storied musical institutions function, great artists create, and audiences engage. The final chapter synthesizes Morris' career lessons into an unequivocal but thoughtful prescription for the American orchestra. Mostly, though, this is the entertaining story of one man's lifelong love affair with great music and the people who make it.

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Reviews

ALWAYS THE MUSICQUOTES Tom Morris offers both inspiration and counsel - and sometimes a bracing but refreshing bucket of icy cold water - for arts presenters seeking to maintain vitality and relevance in our rapidly ever-changing world. - Ashley Capps, founder of Big Ears Festival You hold in your hand a treasure trove of insights, reflections, predictions and even divinations - as well as a hearty dose of scintillating industry tales! Like the author himself, the book is full of grace and wisdom and exuberant optimism. Every musician and music lover must read it. - Claire Chase, flutist, founder of International Contemporary Ensemble, founder of Density Arts Across his lifelong adventure in music, Tom Morris partnered with some of the most inspired and inspiring personalities to bring forth exquisitely provocative programs that overwhelmed audiences with their beauty and power. If there is one book to read about music, one book that captures the human alchemy that makes a great orchestra or festival tick, this is it. - Jim Collins, author, Good to Great Tom Morris's fascinating, inspiring book is chock full of crucial life lessons and vivid anecdotes. Layered with rich insights and big-picture takeaways, this book feels like the education we need: an invaluable tour through the last several decades of the classical music business, and a helpful set of suggestions for its future. - Vijay Iyer, pianist, composer, Harvard University faculty Morris is now the universally respected sage of the classical music world without having lost any of his mischievous and at times almost anarchic sense of humor. 'Always the Music' shows us why we need provocateurs such as him in a business that so easily goes stale and tends to take itself too seriously way too often. - Esa-Pekka Salonen, conductor, composer Chapter after captivating chapter, Morris opens the door to his deeply personal friendships with musical luminaries as well as the next generation's pioneers. In doing so, he reveals his undiminished curiosity, passion and optimism for classical music's future. Ultimately, his career is a roadmap for anyone wanting to understand what service leadership looks like in music and the arts. - Chad Smith, President and CEO of the Boston Symphony

Author Information

Thomas W. Morris is recognized as one of the most innovative leaders in the orchestra industry and served as the long-time executive director of The Cleveland Orchestra from 1987 to 2004. Prior to that, he served in various executive capacities, including General Manager, of the Boston Symphony Orchestra from 1969 to 1986. Mr. Morris served as artistic director of the Ojai Music Festival from 2004 to 2019. He was one of three founding partners of Spring for Music, an innovative orchestra festival held at Carnegie Hall from 2011 to 2014 and aimed at attracting new and younger audiences through low ticket prices and creativity in programming. Mr. Morris is active nationally and internationally as a consultant, lecturer, teacher, and writer. He has just finished a book about the state of the musical world and orchestras, to be published in fall 2024. A native of Rochester, New York, Mr. Morris studied at the Eastman School of Music, and holds a B.A. degree from Princeton University and an M.B.A. from the Wharton School of Finance and Commerce. He currently serves on the board of the Interlochen Center for the Arts.

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