I really had no intention of going into artist management. In 1964, Rudolf Serkin asked if I could help with some concert requests for his 17-year-old son, Peter. Always ready for a new challenge, I agreed. And here I am, 50 years later, managing an entire roster of great artists.
Since we have never viewed our management activities solely as business, we have only represented artists we felt had original voices, with whom we could develop a special rapport. Our philosophies and ideals have not changed, even in the face of changing times. We are committed to cultivating our artists’ potential through personal involvement in every aspect of career development. We believe in preserving and advancing the classical music art form through creative management and through partnerships of artists, management and presenters.
This philosophy of management was borne of a lifetime of education from many brilliant and generous people. There are too many to list, but two stand out in my mind for the valuable lessons they taught me. Mr. Serkin taught me to strive for the exceptional, since given life’s normal compromises, one might still attain something on a very high level. By observing Sasha Schneider, I realized that we must try to live every part of our lives to the fullest, with passion and love.
I also feel very lucky to have the chance of being active in many different areas of music, which has broadened my perspective on what the role of an artist manager can be.
As a concert presenter, I have the pleasure of managing New York's oldest and most beloved recital and chamber music series, Peoples' Symphony Concerts. The series offers 18 concerts per season, allowing New Yorkers of modest means the opportunity of hearing some of music's most illustrious names and rising stars for half the price of a movie.
As founder of the New York String Orchestra Seminar, culminating in two remarkable Carnegie Hall concerts at Christmastime, we have tried to open new musical worlds for some of the country's most gifted 16-23 year-old musicians, including Yo-Yo Ma and artists who have gone on to become the concertmasters of thirty major symphony orchestras.
Although two completely separate organizations, I liken the Seminar to a Triple A farm team for the Marlboro Music School and Festival, where I have had a remarkable partnership since 1960 as Co-Administrator with Anthony Checchia. It's where I met my wife Martha, where our daughters grew up, and where I continue to learn musical and life lessons each summer.
The International Arts Foundation (IAF), a not-for-profit organization, was founded in 1990 to enrich communities by promoting international exchange in the arts, supporting interdisciplinary and/or thematic projects and fostering collaborations among composers, artists, students and the general public.
Frank Salomon Associates owes so much to all four organizations, as do I.