You might remember from an earlier post that I was in Chicago this month at the League of American Orchestra’s National Conference.
Going to the conference revealed the current issues, unspoken fears, and magnitude of the challenge being faced within the field. The elephant in the room was the current financial meltdown and its impact on precarious institutions like symphony orchestras. But the implication was that the problem was larger than the bleak economy.
The problem is us. Darwin was right: When circumstances change, we have to adapt.
Our field is notoriously slow to change its model, and throughout the week speakers were prodding everyone to move away from the status quo by comparing the possible future of the symphony orchestra field to that of the failing newspaper industry. More than once we were reminded of the unwillingness of the big three Detroit automakers to face reality and innovate. The clear implication was that we have to change, that change is good, and that we don’t have time to waste.
In a private conversation, I heard that a leader in the field had made an estimate that as many as a third of non-profits would probably fail during this economic downturn. Yes, a THIRD! If that ratio held true for symphony orchestras it would mean a catastrophic loss to this field. I have kept returning to that prediction as I have thought about three particular sessions among the many I attended during the conference:
- The first was a Beyond the Score program devoted to Dvorak’s Symphony No. 9 in e minor, From the New World. It was a remarkable production, certainly worthy of the immense resources of the Chicago Symphony’s very creative staff. The performance included photos, film clips and a well-written script performed by three actors, one of whom played Mr. Dvorak himself, supplemented by occasional lines from Sir Mark Elder who conducted. The Civic Orchestra of Chicago performed excerpts from Dvorak’s symphony to illustrate the story of its creation, and we heard passages from polkas, Slavonic dances and spirituals as well.
- The second session was on the implications of social networking tools in the performing arts. The consensus was that no one really knows HOW to most effectively use these new tools yet, but there seems to be agreement that this is the wave of the future – or, more accurately, of the present. Obviously this will be a growing area of experimentation in the near term across the field.
- The last session was an attempt to retain audiences by studying those audience members who have come only once to a symphony orchestra performance, never to return because of their unhappiness with a host of seemingly unrelated issues ranging from parking their car to the price of a glass of wine at intermission. The upshot of that session was that if you can get audience members to come to a second performance there is a good chance you’ll keep them for a long time.
When I look back at the League’s convention those three sessions keep flashing “pay attention!” It is clear that the next few years will see a tremendous shakedown in this field, and none of us knows which institutions will remain standing. Most will try to change. Some will use innovative concert-models like Beyond the Score, many will try to use Twitter, Facebook, and iPhone applications to build on-line communities, some will focus on the experiential approach – adjusting repertoire and adding services and value to keep their patrons coming back. A few won’t change a thing, and most of those probably won’t be here at the end of this process.
What will we change? Will we re-format our concerts on the Beyond the Score model to contextualize a work like Dvorak’s Ninth, taking on the task of teaching our audiences with a Discovery Channel-like approach? Will we find and retain audiences through the power of the internet? Will we adapt our audience-services model to be more like an up-scale retail outlet whose primary product is the complete night out – from soup to nuts with Brahms in between? Will it be something else? Or even MANY new things? Now we’re getting someplace!
They kept making buggy whips while Henry Ford was cranking out his first cars.
It’s past time for this field to get to work. The question remains: “On what?” The one’s who adapt well will remain. As for the rest…ask Charles Darwin.
A major reason that many people do not attend symphony orchestra concerts is that the cost is too high. Is the typical part-time music director really worth the high salary? For major orchestras a million dollar music director salary seems excessive for 10 to 16 weeks of concerts.
How else to reduce costs and increase attendance?
Cut administrative overhead.
Offer “Priceline” type discounts for last minute purchases.
Try programs of exclusively modern works to see if there is really an audience for such works (rather than mixed programs of modern and classical works).
Many orchestras and musical directors are out of touch with the ordinary potential concert attendee. The musical directors and orchestra members must come to understand that most patrons are not nearly so interested in the intricacies of the music, the perceived gravitas of the composer, the experience of musical elitism, of the heady arrogance of musical discussions and concert foreplay, nor the flawless performance of a renowned artist.
Rather, the ordinary patron desires to hear music that brings him personal enjoyment, that sounds like something he understands, that is familiar, and that evokes positive emotions and/or memories within him.
Today, people live in a world that is filled with varied and competing sights and sounds that are foreign to the typical concert setting. They may be seeing and hearing orchestral instruments playing together for the first time – a new sound. They may feel under dressed when they see gowns, tuxedos, coats and ties and bling. They may feel embarrassed when they are unfamiliar with “concert speak” and concert etiquette. So, entering a concert hall can require a patron to overcome at least four (4) common social barriers: 1) comfort zone (concert social etiquette), 2) confidence (being able to engage others in conversation without fear of embarrassment by doing or saying the wrong thing, 3) instrumentation (what is that sound?), and 4) uncommon attire (Am I under-dressed?) And we haven’t even addressed repetoire yet.
Concerts need to be deemed worthy of one’s time. They must be more than an educational experience, more than a time of shared exclusiveness. The value to the patron is in the experience, not the fact that the orchestra played Berioz or Mahler. They will result in a warm feeling,a positive evaluation and conversation, and fond memory.. If an orchestral program has this kind of after-glow, then word of mouth will reach others in the patron’s personal network, and the satisfied – yea even enriched – patron will return with his friend(s).
That is true relationship expansion and social networking. And THEY will post it on Facebook and will twitter well into the night. You won’t have to worry about doing it yourself.
The major reason why symphony orchestras & other classical music organizations are not attracting enough audience is that we are struggling to keep up-to-date w. the needs & preferences of the 18-35 year olds.
Every aspect of the classical music concert experience needs to be completely re-formatted to attract the generation X & Y’s.
They ARE craving more authentic, meditational & deep experiences – and we have the music for them!
If only we could get our head around a REAL and fundamental CHANGE in the traditional concert framework, we could certainly attract this age group and take classical in to the future!
I’m about to commence my major research masters project re. the classical music concert & the 18-35 age group – it will hopefully result in a highly useful model showcasing a “best practice” audience development program – utilizing & merging both market research & profiling, along w. all the great initiatives that have already been launched by classical music organizations around around the world.
It’s not about price cutting, fancy marketing or merchandising – it’s about giving them flexible, interactive, sophisticated, classy, quality experiences & inspiring them to a life-long love affair with classical music!
(Violinist & masters of arts management student at Sydney Opera House)
You have to remember where it all starts…the schools..the orchestra programs. That’s where younger generations gather their appreciation. If symphonies remember where it all starts and supports the schools, there will never be an attendance problem.
My apologies for responding perhaps too late for your readers, but I only just discovered your fine blog and I want to contribute.
I agree with Anonymous that the newcomer wants a personal experience. I would go a little further and suggest that they want a SPIRITUAL experience and communal experience (community) akin to WORSHIP service. And that that is apporpriate enough because as musicians we tend to worship the music or divine creators of the music.
My own concerts I tend to program an eclectic variety, introducing all but the first (fast) piece in emotional (lay) terms, have other players introduce their solo pieces, allow for funny, unplanned moments, and if time allows INTERVIEW an audience member. Finally, after thanking everyone, I will deliver a short “benediction” just before the encore.