Dear ladies and gentlemen!
The basic difficulty with adapting our costs to the preconceived sections of your form is that it forces us to separate the total cost of each and every individual item on our budget into different categories: making a short film (for CD-Rom or DVD) for our displays, for example, puts costs of technical equipment in one category, translations into another, fees for the film-maker and other persons into another, travel expenses into another. However, when I ask the filmmaker for an estimate, I receive one single figure which contains all of these factors. Thus you can see how difficult it coud be to separate this one figure into the various categories of your form.
ANNEX B
4a. Production costs: Euro 12.000
Break down:
publications, booklets, visitor’s guides: including design, layout, printing, etc.: 6000
Demonstrative videos, to be shown at some of the installations of the exhibition: 3000, including the operation of the bladder stone
Internet – website design, adapted to the computer screen stations at each of the installations of the exhibition: 3000
We are dealing with the materials necessary for two whole exhibitions in two different cities, where we are expecting a very large number of visitors. These costs include acquisition of materials, sending materials to be done in various shops (printers, CD producers, for instance), production of the demonstration videos, etc. A data-bank will be designed and produced (like a website), which will be available on touch-tone screens or computers throughout the exhibitions halls. I believe that this figure is very, very conservative.
Productions of visitor’s guides, tables, charts, explanatory panels, leaflets, posters, etc.
d) Dissemination costs (advertisements, promotion, press, etc.): Euro 5000
Break down:
ads in national and international music magazines, particularly of early music: 3500
posters, hand-bills, broshures for two exhibitions, two courses, two concert series: Euro 1500
Again, a very conservative figure, if one considers that one is doing two exhibitions, two music interpretation courses in two different cities. The amount of Euro 2500 for publicity for an exhibition which will last for 4-8 weeks and a course in musical interpretation is very reasonable. Placing ads in the local newspapers and pertinent international magazines would easily run into hundreds of Euros. We will endeavour to keep these costs very reasonable.
ANNEX E:
6. Miscellaneous costs directly linked to project activities
a) artists’ fees 50.400,-
There are 4 concerts in each exhibition (total: 8 concerts), each with between 3 and 9 artists. We calculate Euro 1000 per artist although some soloists get more, some tuttists get less.
b) Insurance 6.000
All of the historical musical instruments have been insured by Lloyds of London for many years. The insurance covers them even when stolen from a parked vehicle. If necessary, I can submit a statement from my insurance brokers in London, certifying all this.
c) Premises hire 16.000
At the time of submission, we were calculating the rental of an appropriate hall for the exhibiton – between 300 and 800 m2 – to be about 8.000 Euros for 4-6 weeks.
d) Equipment hire 10.000
Break down:
1. This includes the very modern audioguides from France which will be recorded with texts in five languages: 4000
2. DVD and stereo equipment, projection equipment, computer-directed displays, etc. 6000
e) Transport of equipment 6.000
We have now done so many exhibitions that we can precisely say that the average costs of transporting the entire exhibition to and from a location is between 4000 and 6500 Euros. Considering the proximity between Salzburg and Augsburg we have set the figure for the two exhibitions rather low. I hope we will not regret this.
h) Travel expenses / Subsistence costs 11.200
This is simply a fairy-tale figure. It is absolutely impossible – even for the members of the EU committee, to pretend to calculate the travel costs for all staff, all musicians, all technicians if at this point in time neither the identity of all of these artists, let alone where they will be just before or after our exhibiitions, nor the prices of plane and train fares are known to anyone on earth! ! ! I have therefore set a figure which is based on the long years of experience travelling with the exhibition and presenting concerts all over Europe, in the hope that it will correspond to reallity
i) Purchases of equipment for production, creation, restoration (heritage) etc. 8.000
j) Remunerations of scientific personnel, technicians, persons responsible for production, creation, restoration (heritage) etc. 8.000
Breakdown for i) and j)
One of the installations especially built for this exhibition is a violin maker’s workshop, complete with instruments in various stages of completion and an explanatory video of ca. 7-10 minutes; this will cost Euro 8000
The attached document named “Orpheon interactiv”, which, although in German, will allow you to see what sort of innovative installations are being especially designed for this exhibition, which will undoubtedly appeal to a target group from 12 to 17 years of age, will explain the other costs of Euro 8000.-
k) Other costs (please specify)
One month living in Salzburg, one in Augsburg for 3 persons 3.000
Fee for these three persons, 12 weeks months 8.400
Breakdown: 3 persons for 12 weeks at 233.33 EUR = 8.400 EUR
Since we have a need to house people in both Salzburg and Augsburg, we thought of renting an apartment for the 4 workers who install and dismantle de exhibition, for the three who will remain with the exhibition throughout, for the musicians that come and go during the concerts, for the teachers of the course. The solution with the apartment will be much less expensive that hotels or pensions for this long period of time.
The salary for the personell staying with the collection has been set at 1400 Euros for the duration (6 weeks) of each exhibition.
Sincerely yours,
José Vázquez
NB: May I close with the words of a great connoisseur of the human mind?
“Donde hay musica, no puede haber cosa mala”
“Where there is music, there can be no evil” (“…there is nothing to be feared)”
Cervantes, Don Quijote
orpheon interaktiv
1. Datenbank
Digitale Erfassung der ausgestellten Objekte in einer Datenbank als Voraussetzung für Homepage und Infoterminals.
· Erfassen der Daten nach bestimmten Mustern (Geburt, Herkunft, Stationen im Leben, Verwandte, Spielkameraden, Gewicht und Abmessungen, Tonumfang, Fotos, Wert...) Familienzugehörigkeit, Texte und Geschichten.
· Bild-, Video und Soundmaterial (Audioguides)
· Übersetzungen
2. Homepage
Homepage speziell für das Museum mit ausstellungsspezifischem Content, ähnlich wie ein gedruckter Katalog, aber in elektronischer Form und über das Internet abrufbar.
Alle Instrumente und Ausstellungsgegenstände mit Fotos, bezugnehmend auf die konkrete Ausstellungssituation (wo finde ich das Instrument in der Ausstellung usw...)
3. Infoterminal(s)
Ein oder mehrere museumstaugliche (d.h. vandalismus- und diebstahlsichere) Computerterminals im Ausstellungsbereich, die dem Besucher die Möglichkeit geben, (zusätzlich zu Katalog, etwaigen Führungen und den Audioguides) Detailinformationen zu der Ausstellung abzurufen. Im Prinzip das gleiche Konzept wie bei der Homepage
4. Videoabspielstation
In einem eigenen Raum oder Bereich werden automatisch die Ausstellungsfilme (das lebendige Museum...) abgespielt. Mac Mini oder DVD als Abspielgerät, je nach Raumsituation Flatscreen oder Beamer.
5. Virtual Serenade
Im Raum (Videoprojektion) befinden sich fünf Musiker eines Mozart-Ensembles, die darauf warten, ein kleines Konzert zu spielen. Der Besucher kann nun mithilfe eines Joysticks eine kleine Mozartfigur zu den Musikern bewegen und ihnen ein paar Noten aus dem Ärmel schütteln. Sobald das geschieht, geht in der Videoprojektion der entsprechende Musiker an seinen Platz und beginnt seine Stimme zu spielen. Synchron läuft die Partitur des gespielten Stückes im Video mit. Je mehr Noten Mozart aus dem Ärmel schüttelt, desto mehr Musiker spielen, und desto vollständiger wird die Serenade
6. L’Operation de la Taille by Marin Marais (published 1725!)
A vivid description of a surgical intervention – operation of the bladder stones,
the original French text recited in various languages, the portrayal in music for two violas da gamba and harpsichord. An operation room of the 18th Century, together with paintings of the period and the surgical equipment of the time.
7. Music of the Spheres: The harmonious movements of the planets, proportionate among themselves, reflect the reflect the Universal Harmony of God. This planetarium is programmed to reflect the relative lightness or density of a Spanish Renaissance motett or instrumental piece.
8. Beleuchtung: Altare, drehende Instrumente
9. Kostüme für die Kinder! Spielstation: Musterinstrumente zum selber ausprobieren.
Children dress up in Mozart Period costumes, try playing some of the instruments: harpsichord, violin, viola da gamba.