About this episode
<p>In the 18th century, Handel relied on royal patronage. Today, it’s donors like Gary Parr who keep the music playing. In this bonus episode of our <a href="https://freakonomics.com/making-messiah/">“Making <i>Messiah</i>” series</a>, Parr breaks down the economics of the New York Philharmonic.</p><p> </p><ul><li><strong>SOURCES:</strong><ul><li><a href="https://www.apollo.com/aboutus/leadership-and-people/gary-parr">Gary Parr</a>, senior managing director and on the management committee at Apollo, philanthropist.</li></ul></li></ul><p> </p><ul><li><strong>RESOURCES:</strong><ul><li>"<a href="https://www.nytimes.com/2022/09/29/arts/music/david-geffen-hall-reopening-lincoln-center.html">A Notoriously Jinxed Concert Hall Is Reborn, Again</a>," by Michael Kimmelman <i>(New York Times,</i> 2022).</li><li>"<a href="https://www.bloomberg.com/news/articles/2017-01-23/apollo-s-new-guy-is-a-legend-in-banking-but-a-novice-in-buyouts?embedded-checkout=true">Apollo’s New Guy Is a Legend in Banking, a Novice in Buyouts</a>," by Sonali Basak <i>(Bloomberg,</i> 2017).</li><li>“<a href="https://lnk.to/HandelMessiah">Handel’s Messiah</a>,” performed by The London Symphony Orchestra (2007).</li><li>"<a href="https://americanorchestras.org/racial-ethnic-and-gender-diversity-in-the-orchestra-field/">Racial/Ethnic and Gender Diversity in the Orchestra Field</a>," by James Doeser <i>(League of American Orchestras</i>).</li><li><a href="https://www.parrshakespeare.org/">Parr Prize for Excellence in Teaching Shakespeare</a>.</li></ul></li></ul><p> </p><ul><li><strong>EXTRAS:</strong><ul><li>"<a href="https://freakonomics.com/making-messiah/">Making <i>Messiah,</i></a>" series by <i>Freakonomics Radio</i> (2025).</li></ul></li></ul><br/> <p>Hosted by Simplecast, an AdsWizz company. See <a href="https://pcm.adswizz.com">pcm.adswizz.com</a> for information about our collection and use of personal data for advertising.</p>