Orchestra Management: Models and Repertoires for the Symphony Orchestra

Performing arts institutions are subject to the so called "Baumol cost disease”, an effect studied by W. J. Baumol and W. G. Bowen which describes how - compared to organizations in other industries - institutions in the field of arts and cultural face constant increases in the wages of their employees while being unable to fully profit from raise of efficiency caused by technological progress due to the nature of artistic activities (performing one of Beethoven’s symphonies requires today the same number of musicians that was needed during the composer’s time). While symphonic orchestras are seen as strong cultural media, virtually no such an institution is able to generate enough revenues through its artistic output to fully sustain itself. 

 

 

For this book, published in 2022 by Routledge, Arne Herman conducted a large number of interviews with orchestra executives and musicians. Based on this insightful information on the cases presented, Herman identifies a threat to symphonic orchestras in the increasing competition to attract funding from public bodies, as well as from patrons and sponsors. Questions of legitimacy and relevance in the eyes of the society have also become central issues. As Herman points out: "A symphonic orchestra that aspires towards a sustainable future will have to show itself as an active cultural body, not as a petrified acoustic museum for cultural heritage” (p. 33).

 

As the title suggests, Herman argues that organizational models of orchestral institutions do influence their repertoires. In his volume he discusses two orchestra models (a traditional, well-established one and an alternative model which succeeded in remaining operative for more than 10 years) for three different regions: the Flanders (Antwerp Symphony Orchestra [ASO], Casco Phil), Amsterdam (Royal Concertgebouworkest [RCO], Splendor), and London (London Symphony Orchestra [LSO], Aurora Orchestra). The diverse geographical locations of the case studies are also representative of different funding systems adopted in Europe - mainly publicly funded in continental Europe and relying more on private donors and sponsors in the United Kingdom, although more specific criteria in the allocation exist at a local level. A brief introduction to each institution enables the reader to understand how its history shaped its current organizational model (and its implications on aspects such as funding models, ties with a specific venue, etc.), as well as its business model and its programming policies.

 

The volume also discusses how the repertoire of an organization is often deeply connected with its history and how the geographical location - and even the political situation - can affect its artistic offer. In order to determine the repertoire of each institution and to compare the results in a cross-case analysis, Herman grouped the performances held over a long period of time (on average ten seasons) in three different categories: works of composers prior to 1900, works composed between 1900 and 1950, and works by composers active after 1950. Such an approach enabled Herman to establish some links between the artistic output and their organizational and business models of institutions. 

Programming and audiences

 

To increase revenues, orchestral institutions tend to program performances relying on a canon of composers a pre-educated public may be familiar with, but in doing so driving young and less traditional audiences away. While the latter are key to ensure the future sustainability of any arts and cultural organization, new and more experimental programs are often received coldly by returning audiences, effectively creating a loophole. Thus, programs focusing on audience development as well as educational and outreach activities are urging issues of any orchestral institution. 

 

The differences between the analyzed orchestra institutions already become apparent when comparing them in short. Among the more traditional ones, ASO, founded in 1955, is greatly subsidized and relies on a rather traditional core repertoire although it is involved in many outreach activities. The history of the RCO (1888) cannot be separated from the hall from which it takes its name - that is now used also by other organizations - and its current repertoire still echoes the long collaboration with composers such as Anton Bruckner, Gustav Mahler, and Richard Strauss. The cooperative model of the LSO (1904) seems to rely more on the specialties of its guest conductors but nevertheless it is engaged in many educational projects (LSO Discovery). 

 

Links between governance and programming are also pertinent to alternative models. Casco Phil (2008) does not have an official venue and opted for shorter concerts preceded by on-stage introductions. Splendor (2010) instead focuses on the utmost flexibility and the absence of any kind of programming, which enables musicians and the audience to enjoy a sense of freedom that other organizations might not necessarily offer. Finally, Aurora (2004) aims at playing from memory without using scores and is more financially dependent on grants for its various programs than on box office income.

 

While traditional and alternative models might at first be perceived as opposed to each other, with the latter focusing on unconventional solutions that large institutions cannot provide, Herman argues that these two systems are ultimately complementary. The examples of Casco Phil and Splendor seem to indicate that alternative models can only exist within a subsidized environment where its members can enjoy artistic freedom and working as freelance while being employed in established organizations. Herman points out that the small size and the flexibility of an orchestra could constitute an opportunity which enables it to quickly respond to change - like it happened during Covid or to implement more experimental creative programming policies. However, he also warns that these models can only "occur within the cracks of the dominant system” (p. 210). While alternative cases might seem easily replicable, Herman also notes that "upscaling or duplicating these models would compromise their competitive advantage on larger organizations, namely their potential to create a situation in which their model is a driver for innovation” (p. 211). In addition to programming policies, this innovation could also shape areas such as marketing or fundraising, as well as governance. 

Established institutions with a long history might however be slow in implementing innovative changes either into their artistic offer or into their organization model. 

 

 

Although Herman’s volume focuses on European institutions, his in-depth analysis are equally relevant for symphonic orchestras across the world struggling to find a balance between artistic freedom and financial sustainability. The volume shows how organizational models can shape the artistic programming as well as approaches to urgent issues such as the development of new programming formulas, ageing audiences, and income diversification. In times were competition for funding amongst organizations increases, this book is likely to become a reference in the literature. Practitioners in the field of classical music and scholars of arts management will greatly benefit from the cases presented in this volume and from its extensive bibliography.