Programming Pandemonuim

Artistic programming, the “product” of symphony orchestras, is the most critical component of the organization’s outward representation in a community.

Artistic directors have historically been the masterminds of symphony programming – as noted in this article – discussing James Levine’s work with the Boston Symphony.

Another major orchestra, the L.A. Phil, was rewarded by the League of American Orchestras for innovative programming in 2009.  The L.A. Times commented:

During his 17 years as music director, Salonen shifted the orchestra’s repertoire toward more modern works with an emphasis on 20th century and new music.

Other Programming awards by the League in 2009 included these orchestras:

• John S. Edwards Award for Strongest Commitment to New American Music:
  Cabrillo Festival of Contemporary Music
  Marin Alsop, music director and conductor
• Morton Gould Award for Innovative Programming:
  Los Angeles Philharmonic
  Esa-Pekka Salonen, music director
• Leonard Bernstein Award for Educational Programming:
  Albany Symphony Orchestra (Albany, N.Y.)
  David Alan Miller, music director and conductor
• Award for American Programming on Foreign Tours:
  Orange County (California) High School of the Arts Symphony Orchestra
  Christopher Russell, music director

But really — How do symphony orchestra managers decide what pieces to perform at concerts and how does the programming affect other functions of the organization?

To try to answer this question, my thesis assessed the link between internal organizational dynamics and artistic programming of the Eugene Symphony in Eugene, Oregon.  This work sparked my ongoing interest in how programming relates to the individuals involved in decision-making as well as the desired outcome.

Artistic programming is the most important factor for audience members and can determine the success of a symphony season.  The artistic challenge is to create a link throughout the season, and even between multiple seasons that encourages audience members to attend concerts while providing stimulating repertoire for the musicians and the conductor.

My master’s research and further investigation has showed that collaboration is a critical component of symphony artistic programming.  So…..I am diving back into my collaborative case studies with vigor to see how a variety of organizations in the industry approach collaboration and artistic programming.

Is it really just the conductor who decides what pieces to play?  Is that good? Bad?

Lets leave that to the experts

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