U.S. Symphony Orchestras

Learsfool has made some real world points. As a member of the Board of Directors of an orchestra, every one of the points Learsfool has made are spot on. Corporate funding is down and will remain so as long as the economic picture remains bleak. Rather than focusing on finding funding from these organizations, seeking out the smaller donations from middle class citizens is a step in the right direction. It benefits the orchestra not only in the wallet, but provides a solid attendance base to grow as the need to replace our graying audience increases. I agree that we could do more to encourage younger audiences, but an orchestra would rather see butts in the seats enjoying the music than spend time worrying about how those folks are dressed.

Boards of Directors of orchestras need to do their part as well. Be ambassadors for the orchestra in your community. Board annual giving needs to be a solid commitment from every member, as does attendance at concert events. Too many trustees enjoy the cache they think membership brings them without a thought to the impact a proactive board can have.

As for rehearsals, most orchestras have reduced the amount held prior to performances. Some (including ours) will hold only three full orchestra rehearsals and a fourth for strings only in an effort to reduce expenditure. Remember that the musicians and conductor are dedicated to their craft and expect the performance to be the best they can do for the patrons that expect them to deliver.

The orchestra I am involved with is one of only three training orchestras in the US (think baseball farm teams here). Our musicians are students from Julliard, Curtis, and Peabody. The audience gets to hear tomorrow's stars today. Our former Music Director is Alan Gilbert, the current MD in NY. Our musicians go on to work for the major orchestras around the world.

One last point I would touch on is that European orchestras have the luxury in some cases of support coming directly from the government as a matter of national pride. US orchestras rely on funding from sources like the National Endowment for the Arts, a pool of funds not nearly big enough to go to everyone.

Onhwy61,
Thanks for the top 20 list. I'm not qualified to judge such things, but that never stopped me before! I guess the list as a whole looked about right to me, with one glaring exception. How is it possible that the Philadelphia did not make the top 20? Are things that bad there? Oh, those strings! Other than that, I guess I wouldn't have put the LSO in the top five, I would have moved Cleveland up to five ahead of Chicago (of course). Hard to argue too much with the Concertgebouw, Berlin, and Vienna. I'd have moved up the Dresden and Liepzig a good bit.
GSM and I are on the same page.

Learsfool, to you sir and your colleagues-- Hats off! You guys make this trying existence tolerable, and on a good day, you show us a glimpse of heaven!

Just something to show the 'type' of thing I was talking about.

The Nutcracker shown back in DEC 2011 on PBS. It was sort of like a dance contest, a different ballet company every night. All performing the Nutcracker. I LOVED it. I have never had the slightest interest in Ballet, other than the music, but I was STUNNED at how much I enjoyed it. Two people explaining between acts and after the final, made the entire night. This is another example of how to get the public interested. Put it on TV with 'hosts' (that are well known to the public at large) to explain as the concert is going on. Between movements. BTW, a few years ago, the BOLSHOI even found the time and interest to come to my neck of woods. I didn't attend. After the PBS thingy, I can't wait for another chance. Still waiting for the top American stuff to show up.

MartyK1: I agree with you. I think that public support of the arts is also cyclical - and not just related to the vagarities of the economy. Right now we are in an anti-intellectual phase.

Slipknot1: You also make great points. (1) There is a significant difference between the US and Europe regarding governmental support of the arts; there seems to be little public sentiment for public government support of orchestras in the US - at least now. (2) A Board of Directors of any organization - not just an orchestra - is supposed work for the organization in return for the prestige of the board seat. This involves raising money, being an ambassador for the organization, etc. Too often, board seats become an entitlement.

Rok2id: Your comment reminded me of Leonard Bernstein's Young Peoples Concerts. He made classical music come alive - even just using the medium of the small black and white televisions available at the time. I suspect that the impact of that series lasted a long time. At his best, Leonard Slatkin can sometimes display a hint of Bernstein's ability to communicate with an audience.

"Symphony in C", previously known as the "Haddonfield Symphony" in New Jersey is missing.