Between reader suggestions following last week’s orchestra management Venn diagram and all the reactionary discussion about the “New Economy” throughout the business, I put together another Venn diagram illustrating the decision making process behind bean-counting programming. In a nutshell, if you’re an orchestra manager and this diagram strikes you as a useful tool, it might be time for a sabbatical (or to consider a new vocation).
Sure, Symphonie Fantastique uses extra players, which is why it’s a separate component of the diagram. According to League statistics, it’s the third most programmed piece in the business (it’s performed so much that it’s in danger of becoming pseudo-pops IMHO). Nonetheless, it’s something audiences have come to expect which is why even the most bean-counting happy artistic manager will continue to work it into programs.
But beyond that, the Bean Counter’s Big Book Of Orchestra Programming states anything else requiring extra players or music purchases/rentals is verboten. After all, audiences don’t want to hear anything new or challenging, right?
It is so easy to slip into those stereotypes but I know so many managers are much better than that and it never hurts to reaffirm the value of meaningful programming.
I teach an evening course for adults where each class is a preparation for a symphony concert soon after. It’s meant as an intro to the symphony for novice concert-goers. The recommended reading is the excellent, ‘Classical Music for Dummies’.
I was a little taken aback at one class where not one person had ever heard of Berlioz, much less the Symphonie Fantastique. Beyond Beethoven, Mozart and Tchaikovsky, awareness drops off fast, it seems. Just because something is ‘standard rep’ doesn’t mean anybody who’s not already a concert-goer has ever heard of it.
One one hand, I thought, ‘Wow, this class is necessary. There’s a lot of work to do!’ On the other, it gave me some sympathy for those easily-bored Music Directors who might say to themselves, ‘Well, if it’s all new to them anyway, why not drop Berlioz and Franck, and substitute Martinu and Nielsen?’.
Yikes
We are playing both the Beethoven and Berlioz this season in Springfield MO! We haven’t done either in 5+ years and are heavy audience requests…..I promise as long as I am here we will wait along time and definitely wont put them on again in the same season!
Ron PS We are throwing in a world premiere, and plenty of pieces with extra musicians…am i forgiven now?
There’s a reason the Beethoven and Berlioz are in the Top 10 lists but it’s that last category that really defines artistic insignificance; so long as you stay out of that trap, I doubt the orchestra gods will smite you any time soon 🙂
And by all means, it must be in the “Overture, Concerto, Intermission, Symphony” format as well…
Drew, I resemble that remark! (:
Besides, Symphonie fantastique uses a LOT of extra musicians; as you know, one of the few works that calls for not one but TWO tubas!
Sure, Symphonie Fantastique uses extra players, which is why it’s a separate component of the diagram. According to League statistics, it’s the third most programmed piece in the business (it’s performed so much that it’s in danger of becoming pseudo-pops IMHO). Nonetheless, it’s something audiences have come to expect which is why even the most bean-counting happy artistic manager will continue to work it into programs.
But beyond that, the Bean Counter’s Big Book Of Orchestra Programming states anything else requiring extra players or music purchases/rentals is verboten. After all, audiences don’t want to hear anything new or challenging, right?
It is so easy to slip into those stereotypes but I know so many managers are much better than that and it never hurts to reaffirm the value of meaningful programming.
How did they steal this diagram from the East Texas Symphony Orchestra?
In the spirit of full disclosure, I have never been to, heard, or even seen that orchestra’s program schedule 🙂
I teach an evening course for adults where each class is a preparation for a symphony concert soon after. It’s meant as an intro to the symphony for novice concert-goers. The recommended reading is the excellent, ‘Classical Music for Dummies’.
I was a little taken aback at one class where not one person had ever heard of Berlioz, much less the Symphonie Fantastique. Beyond Beethoven, Mozart and Tchaikovsky, awareness drops off fast, it seems. Just because something is ‘standard rep’ doesn’t mean anybody who’s not already a concert-goer has ever heard of it.
One one hand, I thought, ‘Wow, this class is necessary. There’s a lot of work to do!’ On the other, it gave me some sympathy for those easily-bored Music Directors who might say to themselves, ‘Well, if it’s all new to them anyway, why not drop Berlioz and Franck, and substitute Martinu and Nielsen?’.
Yikes
We are playing both the Beethoven and Berlioz this season in Springfield MO! We haven’t done either in 5+ years and are heavy audience requests…..I promise as long as I am here we will wait along time and definitely wont put them on again in the same season!
Ron PS We are throwing in a world premiere, and plenty of pieces with extra musicians…am i forgiven now?
There’s a reason the Beethoven and Berlioz are in the Top 10 lists but it’s that last category that really defines artistic insignificance; so long as you stay out of that trap, I doubt the orchestra gods will smite you any time soon 🙂