Bruce Coppock, the former St. Paul Chamber Orchestra president and managing director who had revolutionary ideas about orchestra leadership, has died. He was 71.
In 2004, the SPCO abandoned the conventional model of having a single music director. Instead, orchestra musicians became the leadership, collaborating with a team of artistic partners that have included violinist Joshua Bell and conductor Nicholas McGegan. It was a revolutionary idea in the classical music world. And Coppock ushered it into being.
He died Monday after living with a rare form of bile duct cancer for 16 years. He had been living in the Boston area of his youth since retiring from the SPCO in 2016.
Coppock served as the orchestra's chief executive officer from 1999 to 2008, then returned to the role after a management lockout of musicians canceled most of the SPCO's 2012-13 season.
"It is no exaggeration to say that no single person had a greater role in the SPCO's artistic trajectory over the last 20 years than Bruce Coppock," SPCO artistic director and principal violin Kyu-Young Kim said. "His fervent belief that the SPCO's ultimate success as a chamber orchestra was dependent on the SPCO musicians themselves rather than a single conductor led to a complete transformation of the ensemble."
That wasn't the only significant change that happened under Coppock's leadership. When he joined the SPCO, he stressed that the orchestra would be better served by a more intimate, acoustically sensitive venue than St. Paul's Ordway Music Theater. In 2015, a 1,100-seat space, the widely praised Ordway Concert Hall, opened and has been the orchestra's home since.
Soon after it opened, the SPCO recorded an album built around Franz Schubert's "Death and the Maiden" there with violinist and artistic partner Patricia Kopatchinskaja. That album went on to win the Grammy for best chamber music/small ensemble performance in 2018.
"Bruce's impact on the SPCO was profound and enduring," said Lowell Noteboom, former board chair for both the SPCO and the League of American Orchestras. "His creative energy was a force to be reckoned with. His standards were so high; his expectations for himself and for the rest of us were daunting. It required us to stretch and change. And we did."