History of the New York Philharmonic

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/

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