Artist Managers: How a sustainable management company is hitting the right notes

News arrives that the International Artist Managers’ Association (IAMA) is in the process of forming a committee on Sustainability. More on that in due course, but as it happens, I also note that a new IAMA member runs Green Note artist management (intriguingly, in Zagreb) which places green awareness at the heart of its work. Founder Miran Vaupotić is only too keen to talk me through the precise reasons for that. It signifies, he says, ‘the company's commitment to nurturing and cultivating growth for artists while being mindful of our impact on the planet.’

The word ‘Green’, says Vaupotić (pictured below), embodies ‘the idea of artists blossoming and thriving. It symbolises sustainability, eco-friendliness and a conscious effort to reduce the environmental footprint. ‘Note’ signifies the expression and creativity that artists bring to the world.’

So how does Green Note deliver on the ‘environmental footprint’ bit? ‘We reduce energy consumption in various aspects of our work,’ Vaupotić explains. ‘By adopting eco-friendly practices we reduce waste production, prioritise sustainability when planning tours, choose sustainable materials for merchandise and promo materials. We collaborate with eco-conscious partners as much as we can. As a company we’ve set ourselves targets to become carbon-neutral and net-zero as a business. Recently we’ve partnered with Ecologi, an organisation that funds environmental projects to drive ecological change. This enables us to offset our carbon emissions and become a Climate Positive Workforce.’ More than all this, as we shall see, Green Note looks to constantly engage and educate all and sundry on green issues through music.

OK, you get it — this is one lively mind at work. And Vaupotić’s musical background is at one with that. A multi-instrumentalist with expertise including violin and accordion, he found his way into conducting, developing a career in the field while also spending fourteen years as a music teacher. He’s conducted all over Croatia and beyond (in the UK, with the LSO and Royal Scottish National Orchestra) at venues ranging from Carnegie Hall and the Berlin Philharmonie to the Wiener Musikverein and the Rudolfinum in Prague.

That clearly wasn’t enough, though, for this lively mind. ‘I also developed an interest in the music business and recording industry. This eventually took me to an executive position at an eminent recording company [PARMA recordings in the USA] specialising in the music of living composers.’

Then the move into artist management, in 2017. Vaupotić’s range of experience in music gave him, he says, ‘an in-depth understanding of the creative process and the challenges that artists face in the industry. I developed strong relationships with artists during my time in the recording industry and transitioning to artist management was a natural way to continue supporting and working closely with them — and it’s offered me more opportunities for personal and professional growth.’

This multi-faceted background enables Vaupotić to see how his different experiences complement each other in various ways — enabling him to acquire leadership skills, he says, while offering networking opportunities, an understanding of what it means to have artistic vision, plus the skills required in negotiations and handling contracts.

Vaupotić’s conductiong career has seen him collaborate with the LSO (pictured above) and Royal Scottish National Orchestra

Inevitably, I want to know more about the pros and cons of running an artist management from Croatia. Not surprisingly, Vaupotić cites the limited size of the local market as one difficulty. ‘This could impact the availability of funding opportunities and potential clients or partners. But with effective networking and the ability to reach out internationally, many of these challenges can be mitigated.’

In fact, he says, running an office from Croatia offers many advantages. ‘Firstly, the cost of living and operational expenses here are generally lower compared to some other European countries. Croatia has a skilled and talented workforce, with a strong focus on technology and innovation. The country’s strategic location within Europe provides easy access to neighbouring countries and major European cities.

‘Croatia also has a stable economy and a growing entrepreneurial ecosystem. The country benefits from its membership of the European Union, providing access to a larger market and facilitating international trade. Then, of course, Croatia boasts beautiful natural surroundings, a pleasant climate and a rich cultural heritage. This creates a positive living and working environment.’

For the moment, Green Note has a select artist list, including violinist Davide Alogna, cellist Alessandra Doninelli, accordionist-composer Richard Galliano and violinist-composer Yury Revich. All, says Vaupotić, buy into the company’s green agenda. ‘Yes! I believe that every artistic, intellectual and mindful human being is environment-sensitive and aware of the green issues. Although we didn’t choose our artists by their beliefs, we definitely encourage them to adopt greener lifestyles.’

Projects with more than a tinge of green about them will be an integral part of the company’s offer going forward. As things stand, two such projects are being promoted. Firstly, the GREEN Piano Concerto, which premiered in 2015. Finnish pianist Pauli Kari commissioned the work from composer Severi Pyysalo, taking it on tour with the Baltic Sea Youth Philharmonic under Kristjan Järvi. ‘This piece is about penance for environmental sins and the necessary conversion to a new outlook,’ Vaupotić explains. ‘Green Note decided to pick up this previously overlooked composition and work towards new opportunities for it to be performed.’

Then there’s Tsunami Violin (pictured above), a collaboration with prominent Croatian violinist Goran Končar. ‘Goran brought this project to our attention — an amazing idea which spreads a message of peace and unity. It reflects Goran’s close relationship with the Nippon Music Foundation. The concept originated with the work of Muneyuki Nakazawa, a veteran violin craftsman and restorer, who made violins almost entirely from the debris left by the 2011 Japan earthquake. The instruments’ sound posts are made of timber from a 280-year-old kisekino ipponmatsu — a miraculous lone pine tree, the only survivor out of 70, 000 pine trees lost on a two-kilometre coastline. We created a special symphonic program featuring the tsunami instruments, entirely inspired by nature, which we promote and place for concert performances.’

Future green projects? Green Note is developing ideas such as an eco-friendly music festival, a sustainable recording studio, a musical instrument recycling program and a music competition showcasing environmental themes.

All this… and a passionate sign-off from Vaupotić. ‘From the rhythms of our heartbeat to the melodies of birdsong, music and nature are intricately intertwined. Many musicians and composers have been inspired by the natural world around them with pieces of music written to celebrate its beauty and majesty. Nietzsche said, “Without music, life would be a mistake.” Agreed! But let’s keep in mind that without nature, there is no life!’