April 26, 2018 – Philadelphia, Pennsylvania – The Presser Foundation is pleased to announce the selection of grantees for Capital Support. These grants, totaling $716,185 this fiscal year including $352,370 in new commitments and $405,000 satisfying previous commitments. These grants are designated for capital projects of music organizations providing supports a broad range of classical symphonic, chamber, choral and vocal music. Capital projects include the construction of new facilities and the renovation or expansion of existing facilities.
Dr. Jeffrey Cornelius, Chair of the Capital Support Committee commented on these grants, “From among many worthy proposals submitted to The Presser Foundation for this year‘s capital support grants, the Board of Trustees selected the following organizations for funding. These proposals were deemed to be particularly in line with the aims of the founder, Theodore Presser, and promise to provide the type of support he envisioned for musical institutions almost a century ago. We congratulate these organizations and are pleased to be associated with the fine results they are accomplishing.”
2017-18 Capital Support Grantees (in alphabetical order)
Agnes Scott College, Presser Legacy
Community Music School of Collegeville
Curtis Institute of Music
The Grand Opera House
Historic Lansdowne Theater Corporation*
Kimmel Center, Inc., Academy of Music*
The Mann Center for the Performing Arts*
The Music School of Delaware
Ohio Wesleyan University, Presser Legacy*
OperaDelaware
Temple University, Boyer College of Music and Dance*
It’s not every day that the arts community gets together to talk about a set of principles. But if you listened between the lines last Sunday at the Perelman Theater, that’s what was happening at the memorial for Robert Capanna.
The event shouldn’t have been happening at all, said one speaker. But happening it was: a remembrance of Capanna, the composer who stepped down as head of the Settlement Music School at the end of 2009 after 27 years. Capanna died in January at age 65 – too soon by any clock, but tragically early considering he had consolidated a lifetime of knowledge and experience in music, administration, and investment management into a singular set of strengths.
Given all this, plus the trust and credibility he engendered from donors, he should be running the Philadelphia Orchestra right about now. Maybe his spirit will animate that search for a new president with some imagination.
It seems an apt time to weave together a few of the threads that made Capanna who he was — the Bobness of Bob, if you will. Capanna embodied a set of high ideals that arts institutions might aim for as the sector struggles with questions of identity versus survival, art versus entertainment, flavor-of-the-month programming ideas to please funders versus core mission, and the endless strain of working harder for an ever-smaller slice of the attention pie.
Clarifying Sunday’s comments down to a core philosophy, you might conclude that the arts community doesn’t need more foundations developing position papers on cultural policy or consultants lording that policy over arts groups. What it needs is a little more time connecting with the soul of art.
A composer himself — Capanna once called his music “wildly unpopular and difficult” — the South Philadelphian had a way of cutting right to the heart of the matter. Several speakers Sunday referenced it, sometimes humorously.
When he came across something with which he disagreed, he called it “cute,” said Matthew Levy, executive and co-artistic director of the Prism Quartet. That decoding surely had many of us shifting in our seats uncomfortably, trying to recall whether Capanna ever applied the word to any idea we floated in his presence.
Big truths in small morsels
He rendered strong opinions generously, but what was remarkable was how much truth he could pack into one concise, carefully aimed volley.
Capanna would often host pre-concert talks for the Philadelphia Chamber Music Society, and Philip Maneval, PCMS’s executive director, recalled one memorable audience back-and-forth that went like this:
“Why can’t living composers write music like Brahms?” one listener asked, to which Bob replied, “They don’t need to, Brahms already did!”
In that one sentence, without condescension or pretentiousness, Capanna managed an entire explanation of why we need contemporary composers.
Audience member: “How have recordings changed the way that people perform today?”
Capanna: “Well, they’ve made musicians far too careful.”
What truth. Through natural selection, many of the instrumentalists and conductors we hear today are technically superior and musically cold — or at least, putting too much emphasis on the former and not enough on the latter.
“He answered each question intelligently, patiently, and with a smile. Invariably, he would educate and win over everyone,” said Maneval.
Music for the prodigies and the rest of us
Sunday’s memorial, which included performances of Capanna’s own compositions, was a chance for colleagues to thank him. Among them was Katharine Sokoloff, retired fund-raiser for Settlement Music School, who said that Capanna showed her that “music doesn’t only belong to prodigies and that Settlement faculty is the school’s heart and soul.”
Again, so much truth, so few words.
The arts world remains terribly taken with prodigies. Their unlikely nature makes for admittedly compelling stories. But the idea that prodigies are more deserving of opportunity and attention is a pernicious notion. Every artist develops and matures at a different point and rate. There are early bloomers who fade, and latecomers who, mysteriously one day, arrive fully formed.
Let’s also not forget that students not destined to become professional should get training, too. They are tomorrow’s ticket buyers, donors, and board members. Capanna never forgot that music was for everyone.
And, as Capanna intimated, for all of the larding of the upper administration at many an arts organization (admittedly necessary in the modern age), the core strength of a school is at the point of contact between student and teacher, just as the of an orchestra or theater troupe begins and ends with who’s on stage.
What ‘real art’ requires
I don’t think anyone specifically referenced Capanna’s thoughts on today’s confusion over what qualifies as art and what as entertainment, but he once explained it to me this way: Experiencing art takes work, he said. “That’s what separates real art from entertainment. Real art requires an effort on the part of the listener and viewer. That doesn’t mean it isn’t entertaining; it’s richer.”
And in entertainment, his taste was superb. Not long ago we told him we were binge-watching the Supergirl series on Netflix with our daughter. “Oh, that’s a good show,” he shot back.
If you’re wondering how Capanna’s words found action in his lifetime, just look at his deeds at Settlement Music School. Philadelphia’s arts groups as a whole finally seem serious about social mission and the democratization of the arts. But Capanna long ago greatly expanded the school’s reach to younger, older, and more diverse students, and set about finding them in more parts of the region.
Surely, Capanna cannot have been uniquely wise or capable. There happens to be a lot of talent in town today, and many arts leaders are coming up with creative ideas for a changing world. David Devan at Opera Philadelphia and Catherine Cahill at the Mann often impress with their ability to create new art from scant resources.
Capanna himself saw evolution as being healthy. When he retired from Settlement, he said: “I think inevitably the institution needs to change and develop, and after 30 years you can’t continue to do that. It’s the way life is. Nothing is forever. ”
True enough. But Capanna often functioned as a kind of conscience for the city, a one-man reality check against fad masquerading as innovation, and with an abiding belief in the common good and achieving it through an institution.
Sunday’s recollections got to the core of what matters most in art, and Capanna always knew how to get there without selling out. We are not likely to see all that again in one package anytime soon.
March 2, 2018 – Philadelphia, Pennsylvania – The Presser Foundation is pleased to announce the selection of multi- and single year grantees for Advancement of Music. These grants, totaling $828,000, provide general operating support to music presenting, music performing and music education organizations in the Greater Philadelphia Area.
Michael Stairs, Chair of the Advancement of Music Committee, commented, “We have the greatest of confidence in these grantee organizations doing work that not only advances our own goals and strategies, but provides the best in orchestral and choral music programming. It is an honor to provide critical general operating support to the leadership and management of so many music organizations in the Greater Philadelphia Area.”
2017-18 Advancement of Music Grantees (in alphabetical order)
Academy of Vocal Arts
Allentown Symphony Association
Anna Crusis Women’s Choir
Ars Nova Workshop
Artistas y Musicos Latino Americanos
Astral Artistic Services, Inc.
Bowerbird
Bucks County Choral Society
Bucks County Symphony Society
Chamber Music Society of Bethlehem
Chamber Orchestra of Philadelphia
Chester Children’s Chorus
Choir School of Delaware
Choral Arts Philadelphia
Commonwealth Youthchoirs
Community Conservatory
Community Music School Lehigh Valley
Community Music School of Collegeville
Darlington Arts Center
Delaware County Youth Orchestra
Delaware Symphony Orchestra
Dolce Suono Ensemble
Friends of Wanamaker Organ
Kimmel Center, Inc.
Lancaster Symphony Orchestra
Lyric Fest
Mendelssohn Club of Philadelphia
Musicopia
Network for New Music
Opera Philadelphia
OperaDelaware
Orchestra 2001
Philadelphia Boys Choir & Chorale
Philadelphia Chamber Music Society
Philadelphia Clef Club of Jazz & Performing Arts
Philadelphia Gay Men’s Chorus
Philadelphia Music Teachers Association
Philadelphia Youth Orchestra
Piffaro, The Renaissance Band
Play On, Philly!
Princeton Symphony Orchestra
PRISM Quartet, Inc.
Project 440
Reading Symphony Orchestra
Riverside Symphonia
Settlement Music School
Singing City
State Theatre Regional Arts Center at New Brunswick, Inc.
Robert Capanna, Former President of The Presser Foundation
It was with the profoundest sense of loss and sadness that we received news of the passing on January 26, 2018, of our dear friend, colleague, and former President of The Presser Foundation, Robert Capanna. Known and respected by all as a gifted composer, visionary leader, financial strategist, and as a man of scruples and conviction, his legacy to the art of music, to the City of Philadelphia and the region, to the nation through his leadership of organizations dedicated to advancing the causes of music and education and, specifically, to The Presser Foundation will long be felt by and influence the countless people and organizations he touched.
Bob’s leadership as President of The Presser Foundation for ten years resulted in major strategic planning, thoughtful revision and updating of the Foundation’s approaches to virtually every dimension of its philanthropy, steadfast adherence to the guiding principles established by Theodore Presser himself, and, in sum, exemplary stewardship.
The Presser Foundation Trustees, Committee Members and staff express sincerest condolences to his wife, Cathryn Coate, to his children, and to his extended family and his many colleagues and friends at this time of great loss.
A visitation is set for Wednesday, January 31st from 4:00-6:00pm at the Pennsylvania Burial Co./Baldi Funeral Home, 1327-29 S. Broad Street. A memorial service will be held at a later date.
Donations in his name may be made to the Philadelphia Chamber Music Society, 1528 Walnut Street, Philadelphia 19102; PRISM Quartet, 257 W. Harvey Street Philadelphia 19144; and Philadelphia FIGHT, 1233 Locust Street, Philadelphia 19107.
December 20, 2017 – Philadelphia, Pennsylvania – The Presser Foundation is pleased to announce the selection of twelve new Special Projects totaling $259,500 in both single year and multiple year grants. These grants are in addition to multi-year commitments to The Philadelphia Orchestra and Bucks County Choral Society, totaling $54,100. Peter Burwasser, Chair of the Special Projects Committee, commented, “Philadelphia has one of the most vibrant music scenes in the country, and we at the Presser Foundation are both proud and privileged to play such a vital part in supporting this rich community.”
May 2, 2017 – Philadelphia, Pennsylvania – The Presser Foundation is pleased to announce the selection of grantees for Capital Support. These grants, totaling $647,500 this fiscal year, are designated for capital projects of music organizations providing a broad range of classical symphonic, chamber, choral and/or vocal music. Capital projects include the construction of new facilities and the renovation or expansion of existing facilities.
Dr. Jeffrey Cornelius, Chair of the Capital Support Committee commented on these grants, “Awardees of this year’s Capital Support grants were selected from among applications of considerable merit representing a wide range of educational and presenting organizations. Building and renovation initiatives approved by the Board were judged to be particularly congruent with founder Theodore Presser’s vision. Applicants established their potential for significant impact on advancing music education, performance, and philanthropy. We congratulate these organizations on their vision and their contributions to their respective communities.”
2016-17 Capital Support Grantees (in alphabetical order)
Bethany College
Cathedral Choir School of Delaware
The Grand Opera House
Historic Lansdowne Theater Corporation
Illinois Wesleyan University, Presser Hall*
Kimmel Center, Inc., Academy of Music*
Lebanon Valley College*
The Mann Center for the Performing Arts
Ohio Wesleyan University, Presser Legacy
Settlement Music School
Stetson University, Presser Hall
Temple University, Boyer College of Music and Dance
The Presser Foundation is pleased to announce the selection of grantees for Advancement of Music. These grants, totaling $700,000, provide general operating support to music presenting, music performing and music education organizations in the Greater Philadelphia Area.
Michael Stairs, Chair of the Advancement of Music Committee, provides comment, “Having received a record number of proposals for consideration, we are pleased to announce the selection of this year’s Advancement of Music grantees. These high-quality organizations represent the best in the field of orchestral and choral music programming providing both students and audiences with meaningful experiences. It is an honor to provide critical general operating support to these successful organizations in the Greater Philadelphia Area.”
2016-17 Advancement of Music Grantees (in alphabetical order)
Academy of Vocal Arts
Allentown Symphony Association
Ars Nova Workshop
Artistas y Musicos Latino Americanos
Astral Artistic Services, Inc.
Bucks County Choral Society
Bucks County Symphony Society
Cathedral Choir School of Delaware
Chamber Orchestra of Philadelphia
Chester Children’s Chorus
Choral Arts Philadelphia
Commonwealth Youth Choirs
Community Conservatory
Community Music School Lehigh Valley
Community Music School of Collegeville
Darlington Arts Center
Delaware County Youth Orchestra
Delaware Symphony Orchestra
Dolce Suono Ensemble
Kimmel Center, Inc.
Lancaster Symphony Orchestra
LiveConnections
Lyric Fest
Mendelssohn Club of Philadelphia
Musicopia
Network for New Music
Opera Philadelphia
OperaDelaware
Orchestra 2001
Philadelphia Boys Choir & Chorale
Philadelphia Chamber Music Society
Philadelphia Clef Club of Jazz & Performing Arts
Philadelphia Gay Men’s Chorus
Philadelphia Youth Orchestra
Piffaro, The Renaissance Band
Play On, Philly!
Princeton Symphony Orchestra
PRISM Quartet, Inc.
Reading Symphony Orchestra
Riverside Symphonia
Settlement Music School
Singing City
State Theatre Regional Arts Center at New Brunswick, Inc.
The Presser Foundation is pleased to announce the selection of eleven Special Projects totaling $290,700 in both single year and multiple year grants. These grants are in addition to multi-year commitments to Astral Artistic Services, Inc., Rider University – Westminster Choir College, and Project 440 totaling $49,000. Lucinda S. Landreth, President of the Board of Trustees, commented, “We are proud to support so many worthy music presenting, music performing and music education organizations in the Greater Philadelphia area whose projects are innovative, compelling and fill a clearly defined community need.”
Special Project Grants: (in alphabetical order)
Allentown Symphony Association: Organ Festival
Bowerbird: Julius Eastman: That Which Is Fundamental
Bucks County Choral Society: Voices of the Future
Cathedral Choir School of Delaware: Wilmington Bach Festival
Lyric Fest: Recording Project
Network for New Music: ArtMusic 2018
Philadelphia Chamber Music Society: Four Quartets – The Premiere Project
Piffaro, The Renaissance Band: Hammer Blows that Changed the World: Music of the German Reformation
Tempesta di Mare, Inc.: Reclaiming Telemann
The Mann Center for the Performing Arts: New Frontiers: Launch, Explore, Discover
The Philadelphia Orchestra: Bernstein Centennial Celebration
More information on the Foundation’s grant making activity can be found on it’s website www.presserfoundation.org.
We hope you are enjoying a wonderful summer! It is a time for us to reflect, plan and, in the spirit of transparency, share some thoughts with our stakeholders.
With our charge and commitment to focus on music philanthropy, we expect our grants to help leverage your programs and to realize your goals. We see the Greater Philadelphia music community as a catalyst for innovation, a magnet for talent and fuel for economic growth. Our challenge is making the most of our assets by managing the Foundation in a way that will sustain it for the future so that it can continue to support so many wonderful music organizations.
The Foundation has consistently gifted over $3 million annually in five program areas. While our Finance Committee constantly thinks about the investment of our resources; our various grant making committees think about the impact achieved when those resources are put to work in the community.
As a result of substantial committee and staff effort, there are three areas we are going to continue to focus on and refine in 2016-17.
(1) Ensure that our Advancement of Music grants, which provide needed operating support, are consistently sized according to the grantee organization’s capacity.
(2) Better articulate and share examples of Special Project support. While Advancement of Music supports the core programs of a music organization, a Special Project grant is meant for those projects that are outside the “norm.”
(3) With over 100 years of grant making, first by Mr. Presser and then by The Foundation that was established after his death, there exist numerous buildings (known widely as Presser Halls) across the country. The challenge for a foundation of our size is continuing to support these buildings while allowing for the support of new local Capital Projects. In this way, we are experimenting with a new “Legacy Gift” to show meaningful support to institutions which share in our rich history.
We are looking forward to helping you realize your organization’s plans and to working with you over the next year.
April 27, 2016 – Philadelphia, Pennsylvania – The Presser Foundation is pleased to announce the selection of grantees for Capital Support. These grants, totaling $715,000 this fiscal year, are designated for capital projects that advance the cause of music education or support music philanthropy. Capital projects include the construction of new facilities and the renovation or expansion of existing facilities. New this year is a Legacy Gift to honor the life and relationships of Mr. Theodore Presser. A $25,000 grant was given to University of Mount Union, where Mr. Presser attended and was an Assistant Professor of Instrumental Music.
Dr. Jeffrey Cornelius, Chair of the Capital Support Committee commented on these grants, “Theodore Presser’s philanthropic vision guides the decisions of the Capital Support Committee of the Board of Trustees. From the many fine project applications we receive, we carefully select those most consistent with the funding guidelines of The Foundation, which stem directly from Mr. Presser’s intentions. We are delighted with the quality of the proposals for which we are providing funding and to join with other funding sources of these organizations in seeing these projects come to reality.“
2015-16 Capital Support Grantees (in alphabetical order)
Illinois Wesleyan University, Presser Hall
Kimmel Center, Inc. | Opera Philadelphia | Pennsylvania Ballet | The Philadelphia Orchestra, Academy of Music
Lebanon Valley College
The Mann Center*
Rider University, Westminster Choir College*
Temple University, Boyer College of Music and Dance*
Theodore Presser (1848 – 1925) rose from humble beginnings to become a respected music teacher and publisher. Familiar with the many challenges facing musicians, he established The Presser Foundation which supports music performance and education through undergraduate and graduate scholar awards, operating and program support for music organizations, capital grants for music building projects, and assistance to retired music teachers.
THE PRESSER FOUNDATION
The Presser Foundation was established in 1939 under the Deeds of Trust and Will of the late Theodore Presser.
It is one of the few private foundations in the United States dedicated solely to music education and music philanthropy.
It is our hope that every institution, organization and individual funded by The Presser Foundation will read about the rich history of The Foundation and the inspiring biography of Theodore Presser.
Contact
The Presser Foundation
1501 Cherry Street
Philadelphia, PA 19102 (T) 267.519.5350
