Dynamic Arts Consulting

Orchestra Conference 2010 a la social media

Conferences in 2010 are more than ever demonstrating the multi-faceted uses and possibilities of online networking for arts organizations. This comes at a critical time, as arts organizations reflect on how they can work more with their constituents to increase engagement and build long-term audiencnes.

An example of a national conference harnessing social media this year is the League of American Orchestras 65th Annual Conference that took place  from June 15-19 Atlanta.  Appropriately themed – Its time to take on the future – the conference took large steps to embrace social media and created a strong online presence before and during the conference.

Orchestras are aware that in the 21st century cultural environment, it is no longer possible to ignore the importance of technology as a format of communication in the arts.  I was very glad to see the level of involvement from the League in promoting collaboration through online media.  The following techniques used at the National Conference encouraged a broad range of participation in conference conversations:

1. Orchestra R/Evolution, a website and blog forum was begun months prior to the conference.   Bloggers included the Knight Foundation’s Alan Brown;  Douglas Mclennan who administrates the online ArtsJournal blog; Ian David Moss of Createquity; and Eugene Symphony’s Development Director, Maylian Pak.
2. The opening session was video-streamed live online through Orchestra R/Evolution.org.  The 2-hour long video included a performance from the Greenville County Young Artist Orchestras, Jese Rosen’s opening speech and much more.
3. For further investigation, the conference program is available online at americanorchestras.org

what can orchestra leaders do to harness the energy and momentum created by this conference?

Four key areas that Jese Rosen, President and CEO of the League of American Orchestras, noted as critical ideas in symphony leaders’ quest for knowledge are:

1. fresh ways to sustain artistic vitality;
2. inventive and adaptive leadership;
3. innovative artistic and operational models; and
4. new frameworks for engaging with our communities.

I was not able to attend the conference myself, but am very interested to find out how these umbrella issues were tacked at the conference – so I have arranged a “post-conference” conference call for the 2010 Essentials of Orchestra Management participants.

The bold ideas and motivations that the League presents at its conferences and seminars are useful to the extent that orchestra administrators continue to debate and find solutions to the tough questions in a professional context.

To frame the upcoming conference call, I fished for the most salient questions from the conference proceedings.  My overarching theme will be : Communication. I emphasize the importance of encouraging collaboration among the orchestra musicians and the audience.  This creates stronger ties between the community and the orchestra as well as promoting a better understanding and appreciation of classical symphonic music.

These main questions from the conference illustrate the forward-thinking attitudes of orchestra managers today:

“What does the artistically vibrant orchestra need to look like to be essential for its community?”

“What makes an orchestras matter in the 21st century?”

How these questions are answered will affect each orchestra’s fortune in this cultural climate.  I will address these and other main points with the other trained and emerging leaders that I met at the Essentials of Orchestra Management seminar.  Social networking is a powerful tool which is no longer optional for successful symphony orchestras to harness and utilize effectively.

Symphony administrators work hard despite daily challenges to highlight the larger purpose of symphony orchestras that is to bring classical music to audiences.  Each orchestra’s effectiveness in accomplishing this goal will determine their future in the 21st century.

Background of Symphony Orchestras in the United States:

Because: “Those who do not learn from history are doomed to repeat it”……

To understand where orchestras are now, it is important to look back and understand their evolution.  Many orchestra leaders and those involved in orchestras note the need for change.  By looking at the most iconic orchestra in the U.S, The New York Philharmonic, I am attempting to point out a common progression that orchestras undergo from collaborative/community ensembles, to professionalized organizations.  This will be useful as a baseline for discussion of collaborative orchestra structures.

The Case of the New York Philharmonic

The New York Philharmonic Society began by a group of musicians in 1842.  The orchestra was created for the musicians’ personal enjoyment, which was reflected in the democratic structure.  Management depended on collaboration from all members of the philharmonic. While the new orchestra provided an outlet for local musicians, there were also a few challenges with the democratic, musician-run structure:

LOGISTICAL

The orchestra had to rely on the interest and availability of musicians to perform in concerts. Attendance at all symphony events was not seen as a requirement for musicians’ participation.   Logistics and personnel management  affect what type of repertoire an orchestra can perform.  Indeed, in a report of the orchestra, the secretary complains that the number of violin, viola and cello performers among the members…is quite sufficient for our concerts; but still for various reasons we have not had the proper number of either of these instruments at one concert during the season. (Mueller, 1951, p. 41)

FINANCIAL

Business matters often occupied symphony rehearsals and “the monthly concert was anticipated as a pleasant relief from more remunerative occupational duties” (Mueller, 1951, p. 41). The orchestra was supplemental income rather than a primary occupation for the musicians.  Income was split evenly between the active members of the orchestra, only the conductor and the librarian who were elected by the members, received salaries through a separate contract.

Consistency in pay does not seem fair when some musicians perform more concerts than others…..

ARTISTIC

Artistic choices were decided by personal preferences of the musicians.  The philharmonic focused on orchestral masterworks regardless of the community’s tastes or wishes. Because the musicians had created the orchestra for their own enjoyment, these personal choices of repertoire made sense. However, when the organization began selling tickets and performing throughout the community, the general lack of regard for audience musical tastes and preferences became an issue.

Outcomes

Despite the challenges noted above, the New York Philharmonic served as a strong foundation for the musical enjoyment and education of New York audiences. Additionally, it provided a model for other orchestras in New York and throughout the country. However, a lack of structure and a resistance to change did push some members away…

Theodore Thomas branched off from the New York Philharmonic in 1853 to create an orchestra for “the cultivation of the public taste for orchestral music’” (Sablosky, 1986, p. 71). Thomas subsequently became the well-known founder and conductor of the Chicago Symphony Orchestra in 1891.

The New York Philharmonic meanwhile operated much as it had begun until 1909, when it reorganized into the the New York Philharmonic with a modified organizational structure.  This change was initiated by Joseph Pulitzer bequeathed $1 Million to the orchestra under certain stipulations. Pultzer required the philharmonic to accomplish these tasks:

1) Establish a permanent membership corporation,

2) Secure 1,000 contributing members

3) Offer a lower and generally affordable admission charge

4) Perform concerts featuring Pulitzer’s favorite composers such as Wagner, Beethoven, and Liszt

This list of changes put forth by a visionary entrepreneur at the turn of the last century has a familiar ring to the changes that orchestras are still striving for today.

Jesse Rosen, president and CEO of the League of American Orchestras asks: How can we seize this moment to connect more Americans to our art in a way that strengthens orchestras’ financial health, the cultural landscape, and our communities?

Seizing the moment is the task of all orchestra people.  We must keep in mind that music is what we do – therefor this passion must always reign above all things.

“Music is a means of giving form to our inner feelings, without attaching them to events or objects in the world”

- George Santayana

For more information about the New York Philharmonic, a detailed history of the symphony can be found here: Google New York Philharmonic History

sources cited in this post are here: http://dynamicartsconsulting.com/orchestra-resources/

http://nyphil.org/index.cfm

Orchestras can build communities through music

At the close of the Lane County Community College Chamber Orchestra’s final concert  today, I was reminded of the value that  orchestras consisting of unpaid members or volunteers can bring to communities.   As part of the 12 member violin section of the chamber orchestra, I felt very fortunate to have to opportunity and accessibility of this ensemble in Eugene, Oregon.

Being the longest established of the professional nonprofit arts, symphonies create cultural destinations in many areas.  Community-based orchestras  benefit from being able to utilize strong organizational structures established by the symphony orchestra mammoths, but without the same level of accountability and management oversight as the professional symphonies.   So, community arts organizations can quickly asses community needs and maneuver themselves to fill existing gaps in the musical arena.

To illustrate the course of change between a community-based symphony and a professional orchestra, this brief history of the New York Philharmonic gives a synopsis of the early era of the famous orchestra.  The case of the New York Philharmonic shows how a group of musicians can influence the value of music in a community.

The crucial role that symphony orchestras play in their communities is important for all symphony managers, musicians, and audiences to consider.

Because orchestras in the U.S. are prominent players in the the musical fabric of this country…

Orchestras exist in all 50 states, in virtually every community, with annual budgets ranging from less than $12,000 to more than $83 million.
350-400 professional orchestras,
800-900 volunteer orchestras
150-200 collegiate/conservatory orchestras
400-500 youth orchestras

(from Quick Orchestra Facts, 2009, League of American Orchestras)

Building community through music is a forward-thinking approach that encourages an orchestras to bring music to the community and to those who would not otherwise have the opportunity to participate in classical music.

At the League of American Orchestras new blog discussion – Orchestra R/Evolution, Mark Clague notes:

what’s more important today than ever is to create community connections by reducing the barriers between orchestra and audience to forge a rich, interactive community of friends. What today’s orchestras have that is increasingly rare in virtually mediated life is a passion for lived experience. Sharing the joy of making great music with our friends must be our goal.

(The Power of Community, http://orchestrarevolution.org/?p=141)

Should some of the approximately 800-900 community orchestras in the United States be charged with the task of breaking barriers between classical music and audiences, or should it lie in the realm of the professionalized larger symphonies?

The answer is — both.  Community and professional ensembles working together to promote classical music will enhance the validity and influence of a broad range of performing arts.

NY Philharmonic Concert in the Parks

Greg Sandow proposes an innovative idea of including a broad range of community members in the creation of new classical pieces.  His post, A piece for the whole community, gives food for thought regarding the possibilities of community engagement.  This could be the perfect blending of professional/community symphonies with the common goal of developing future audiences.  That is truly building community through music!