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Cleveland Steps into #MeToo

CLEVELAND, OH - The #MeToo movement has swept Hollywood and D.C., headlines as well as Twitter feeds; now, it has finally landed in the heart of our city.

On July 26th, a Washington Post article by Anne Midgette and Peggy McGlone revealed that William Preucil, the acclaimed concertmaster of the Cleveland Orchestra, sexually assaulted violinist Zeneba Bowers in 1998. Until the release of Bowers’s statements, Preucil was considered one of the greatest concertmasters of all time, described by Anastasia Tsioulcas of NPR as “one of Cleveland's most lauded and visible music stars.” However, the tale of Preucil is not a simple fall from grace.

Executive Director of the Orchestra, Andre Gremillet, claims that “the Cleveland Orchestra was not aware of the allegations reported by The Washington Post about William Preucil in their July 26, 2018 article,” yet, speaking to members of the orchestra community calls Gremillet’s claims into question.

Claudia Hamilton (’19), a member of the Cleveland Orchestra Youth Orchestra (COYO), suggests that Preucil’s behavior has been a bit of an open secret in the community for a significant period of time.

“I feel like a lot of student musicians in COYO already knew about the past controversies with the concertmaster,” Hamilton says. Since the allegations, Preucil has also resigned from his position as an esteemed instructor at the Cleveland Institute of Music (CIM), leaving a handful of COYO students behind. Hamilton recognizes the bittersweet nuances of his exit: “It's strange to see [Preucil’s students] lose almost their father figure in their lives because of something in the past,” she reflects.

Image courtesy of San Diego Tribune

Hamilton’s comments provide another dimension to a story we have heard hundreds of times; she reminds us of the inevitable “other” casualties that come with a titan’s demise. In this case, Preucil’s exit came at the expense of his students, the order of the orchestra, and the conscience of the music industry. However, it is only because of these costs that Bowers’s accusations hold meaning. It is only because it shocks us, the public, the friends of students, and patrons of the arts, that the community feels pressured enough to suspend the ex-concertmaster.

This phenomenon can be read as both positive and sinister. On one hand, we can infer from the reaction to Midgette’s and McGlone’s article that once allegations are projected into the view of the public, action will occur. On the other hand, Hamilton’s experiences (as well as those in other high-profile cases such as that of Harvey Weinstein) confirm that as long as an industry finds benefit in keeping the person in question in power, the omnipresent secret will be kept.

Natsumi Meyer (’19), an active member of the Cleveland Orchestra community as well as a previous member of COYO, explains this mentality.

“In light of the #MeToo movement, I don’t think there’s any way the Cleveland Orchestra will hire him back after what’s been said!” she declares. “It would be quite detrimental to the public image of the Orchestra, and it might limit patrons if he is hired back.”

Meyer’s second statement is key. Before the public was aware of his actions, the Cleveland Orchestra had everything to gain from having the internationally recognized Preucil leading their concerts and the secret tightly sealed. Now, as Meyer says, any relaxed action on Preucil would diminish the ability of the Orchestra to maintain its reputation and means for existence. In essence, Preucil’s suspension was a lot more about playing politics than widespread concern.

With all things considered, the case of William Preucil only reminds us of the unsavory reality of modern progress. Right now, the hashtag in front of #MeToo is synonymous with a price tag. “Progress” is profitable. It shouldn’t have to be.

Now is the time for the culture shift. Beware the open secret.

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