This post is more of a question than anything. In an era of bankrupting orchestras, there has been a movement recognizable to percussionists... the downsizing of the barely-hanging-in-orchestra to a "baroque" style approach to programming.
By eliminating the need to hire that third bassoonist/contra doubler, third flute/pic doubler, bass clarinetist, third through fifth (utility) horn player, a few percussionists who mostly sit around, and a drunken bass trombonist (stereotype?), you can save a lot of money through programming. Playing a "Voracious Vivaldi," "Handel the Heretic," or "Couperin's a Cool Guy" concert saves money on personnel, but how does it play with audiences? I don't know? Do you?
I teach a section of "Introduction to Western Art Music" to 70 general education students- a class I enjoy immensely. What better challenge than to find ways to make the music of mostly dead Europeans relevant to a student population of freshman students of a varied socio-economic background. I can tell you, even with my best theatrics, multimedia presentations, juicy historical gossip, and all out preparation, this generation won't likely subscribe to an orchestra season of "Fervent Frescobaldi" programming.
Will programming save the orchestra? Is the once mighty symphony destined to serve merely a segment of urbanity in a higher socio-economic range? Exist on a part-time basis?
What brings your tribe to a symphony concert?
Please share your thoughts!
Visit my website at www.jameswdoyle.com
1 comment:
Interesting question! I think creative programs, in addition to creative musical programming, is proving successful these days. The Baltimore Symphony Orchestra has a now-annual event where anyone can sign up to play, say, Tchaik 4 or Firebird (!) alongside the orchestra. Friends and family members then come out to make up the audience. Very hands-on, and it makes the entire concert-going experience a personal one. It's quite popular.
Also, organizations like the Wolf Trap Foundation often invite volunteers and donors on short trips to places like NYC, or "field trips" to other organizations' offerings. It's a bonding experience for donors and staff, helps make the external folks feel more connected to the organization as a whole, and allows those not working in the arts on a daily basis an opportunity to see what is happening in the field.
In short, I think building an audience doesn't just involve strategic artistic programming from the stage. You now must create a feeling of community, a place where listeners/observers feel like they belong. People have so much media fighting for their attention, and the game has definitely changed.
Post a Comment