The League of American Orchestras’ 78th National Conference, hosted this summer by the Pittsburgh Symphony Orchestra, is an opportunity for orchestras from across the country to come together and share ideas. And since this year’s Conference is taking place in Pennsylvania, it’s a good time to ask board chairs of orchestras throughout the state for their perspectives. These interviews include comments from board leaders of Pennsylvania’s professional orchestras, community ensembles, and youth symphonies, and provide a glimpse into their day-to-day programs, short-term projects, and long-term initiatives. Many board chairs discuss their efforts to improve diversity, equity, inclusion, and belonging, as well as their commitment to expanding and innovating their artistic programming, community engagement, and educational offerings.
The League’s 2023 National Conference, June 14-16 in Pittsburgh, features sessions, meetings, and programs tailored specifically for members of orchestra boards. The agenda for board members includes “High-Performing Governance = Exceptional Orchestras,” an intensive half-day seminar on June 13, and sessions on “Board Members as Ambassadors and Advocates” (June 15) and “Building a Fundraising Board” (June 16). To learn more about Conference programming for board members, click here.
Each orchestra faces its own unique challenges and opportunities, and some board chairs prefer one philosophy of governance over another. But while their perspectives may differ, the vast majority are on the same page in that orchestras must adapt to their changing and growing communities to see the best version of classical music’s future.
Timothy V. Blair, President, Kennett Symphony
What do you see as the most pressing issues and opportunities facing your orchestra right now?
From a pragmatic perspective, it’s the opportunity to rebuild a post-pandemic audience and grow an increased sponsorship base coupled with additional grant funding.
How do you view your orchestra’s role in the community?
The Kennett Symphony is the only professional orchestra in Chester County, Pennsylvania, and our community is one of the nation’s smallest communities to have continually supported our beloved symphony for 83 years.
We exist to perform, engage, and enrich the community we serve. Our orchestra must be fully integrated into the community providing musical support for numerous organizations, and they, in turn, will support the Kennett Symphony. It needs to be remembered that the arts are good for business because the arts, including orchestras, create vibrant communities that help businesses attract the very best employees.
How do you view your board in light of growing calls for equity, diversity, and inclusion in orchestras?
Orchestras over the years have become more diverse, and our Kennett Symphony Board needed to reflect our community diversity. We received a generous grant from the League of American Orchestras to do a thorough self-evaluation of our Board makeup and launch a thoughtful EDI initiative. As a result, while our efforts and awareness are ongoing, Kennett Symphony has added seven new Board members, and we are on our way to better reflecting the community in which we live and serve.
What’s your vision for your orchestra in the future?
Simply put, to grow and welcome new and larger audiences of all ages and from all backgrounds and in a variety of venues to enjoy and share in the true beauty of musical creativity. Orchestras must always represent the highest artistic quality while being flexible in adapting to an ever-changing world around them, including incorporating creative and engaging programming.
“It needs to be remembered that the arts are good for business because the arts, including orchestras, create vibrant communities that help businesses attract the very best employees.” –Timothy V. Blair, President, Kennett Symphony
Anthony L. Bucci, Chair, Pittsburgh Symphony Orchestra
What inspires you to lead your board?
I believe people have the ability and the opportunity to do good things in community sentiments. I think there’s an obligation we all individually have. The arts are a critical part of any community’s quality of life, learning opportunities, and economic impact. It’s important that those of us who care for the community should participate in making sure these kinds of things survive and thrive.
What is your philosophy of governance for nonprofit organizations like orchestras?
My belief has always been that you have three choices: lead the market, follow the market, or ignore the market. I’ve always advised my clients that you need to follow the market. The market will lead you to where you need to be. If you ignore it, you’re basically on a path to a slow death.
I believe the symphonic world ignored the market, and that’s why it’s in the situation that it’s in today. There are things that should have been done 30 years ago that weren’t, but now we are at a moment of transformational legacy. We’re living and managing with the legacy that was given to us, so what legacy are we going to leave for the next generation of orchestra leadership? Are we going to give them the status quo? Or are we going to have things in place that help transform it to survive and thrive in tomorrow’s world today?
What’s your vision for the orchestra field? How should orchestras adapt to changing times?
If you just look at the statistics and the data, you can see the significant changes that are going on in the composition of our communities, and with those demographic changes come cultural, lifestyle, and attitude changes. However, adapting to a changing environment does not mean that you give up and abandon the standards you have established. We may change how we present it, and we may add some new music, but this fear that we are going to put a stake in the heart of the essence of classical music is just a fallacious, flawed perspective. We’re just preserving what we have and adapting it to the new world. You’re able to maintain quality music while increasing diversity on the stage, and that plays out all across the board.
“What legacy are we going to leave for the next generation of orchestra leadership? Are we going to give them the status quo? Or are we going to have things in place that help transform it to survive and thrive?” –Anthony L. Bucci, Chair, Pittsburgh Symphony Orchestra
Pat Ferris, Chair, Harrisburg Symphony Orchestra
How do you view your orchestra’s role in the community?
We want our role in the community to be an organization that brings people together and brings world-class symphonic music and pops programs to everyone. But that’s also something we know we are not fully completing at this point. We are still challenged by pushback against masterworks concerts. Sometimes people think they need to know the whole score and have gone to school in order to listen to it, so we’re saying, “You have ears, just listen.”
What do you see as the most pressing issues and opportunities facing your orchestra right now?
Our vision is to keep doing what we’re doing. We did well coming out of COVID-19 and would just want to keep building on that. More tickets are being sold, more posteriors are in the seats, and our education [programming] is moving ahead in the schools. I just love doing this. It’s very satisfying and exciting. Things are getting better and better.
How do you view your board in light of growing calls for equity and diversity, and inclusion?
What I think is most important is having our board reflect our community, which means women, African American people, and Latin Americans. We have made a little bit of a strive forward with our two new board members, who are reflecting other communities than white men with money. It’s $2,500 a year to join our board, and we need that money, but not even considering other communities is something I’m really pushing back on. We can come up with ways because I think our board needs to reflect our community.
What’s your message for orchestras in the future?
Don’t give up, no matter what anyone says. The future is bright. We have all these great students who are devoted to their instruments, and they will be our audience in the future, so I feel good about that. We have a really strong Harrisburg Youth Symphony Orchestra, and I’m very proud of them and our great conductor, Gregory Woodbridge.
“What I think is most important is having our board reflect our community, which means women, African American people, and Latin Americans. We have made a little bit of a strive forward with our two new board members, who are reflecting other communities than white men with money.” –Pat Ferris, Chair, Harrisburg Symphony Orchestra
Michael D. Zisman, Co-Chair of the Philadelphia Orchestra
Ralph W. Muller, Co-Chair of the Philadelphia Orchestra.
What are the most pressing issues and opportunities facing your orchestra right now?
The Philadelphia Orchestra navigated the COVID-19 pandemic with three priorities: to take care of our people, maintain the integrity of the ensemble and the business, and, as a major cultural institution of the city, help Philadelphia thrive on the other side of the pandemic. Now, in the post-pandemic era, these important investments, and, most importantly, the creation of The Philadelphia Orchestra and Kimmel Center, Inc.—the first national post-COVID innovation in the performing arts—are helping us to create a brighter, more equitable future for the arts, a future in which all feel welcome and embraced and where everyone can see themselves on our stages.
The Orchestra’s 2022 Grammy win for its recording of Florence Price’s Symphonies Nos. 1 and 3, led by Music and Artistic Director Yannick Nézet-Séguin, is an example of how we are embracing an ever-growing and diverse group of composers. While embracing our long-term audiences, we are deeply committed to building programs and strategies to attract younger and more diverse audiences in this richly diverse city and beyond. Through the profound lessons of the past few years, we see new possibilities for orchestral music and the performing arts every day.
How do you view your orchestra’s role in Philadelphia?
Nézet-Séguin enthusiastically connects with our communities, embraces audiences of all ages, and actively expands the role of an orchestra in society today. It was thrilling to witness him lead the Orchestra’s first-ever Pride Concert last season—one of many examples of his devotion to the diverse communities of Philadelphia.
From music therapy programs to neighborhood concerts to side-by-side music-making events, we are able to meet members of our communities where they are. During the pandemic, we launched “Our City, Your Orchestra,” a free digital series that uncovers and amplifies the voices, stories, and causes championed by unique Philadelphia organizations and businesses. The series has created powerful bonds between the communities of Philadelphia and the Orchestra, helping to eliminate barriers to access and showcase the Orchestra in a new light. Programs like these are integral to the future of any modern orchestra.
“While embracing our long-term audiences, we are deeply committed to building programs and strategies to attract younger and more diverse audiences in this richly diverse city and beyond.” –Ralph W. Muller and Michael D. Zisman, Co-Chairs, The Philadelphia Orchestra
Ann Ouyang, President, Hershey Symphony Orchestra
What are the most pressing issues and opportunities facing your orchestra right now?
A community orchestra like ours provides an opportunity for musicians who are not full-time performers to be part of creating the amazing sound of symphonic music and sharing that with their audience. For many of us, this includes playing a repertoire of classical music that has inspired us throughout our lives.
Generally speaking, classical music—and particularly live classical music—is no longer a part of many people’s experience growing up and may not be part of someone’s experience at school. The audience for live orchestral music is shrinking and aging. The COVID-19 pandemic exacerbated the problem, and we, like many other orchestras, have seen a decrease in numbers of subscribers but hope that we will see increases in the post-pandemic years.
A community orchestra can only thrive if it supports the interests of both the orchestra members and the audience. Developing a program that attracts a broader and younger audience is a challenge. Underscoring the relevance of the orchestra to its players and the community is critical.
What inspires you to serve on your orchestra board?
I have played in community orchestras since finishing medical training. Working on a piece of music and bringing it to a performance level is an amazing creative experience and a true team effort. The sum is so much greater than its parts!
Having this opportunity is a treasure and is not guaranteed; it requires tremendous commitment on the part of the musicians, the artistic director, the management team, and the Board. Over the years, I have recognized that the success of the orchestra requires more than committed musicians; it requires the support and commitment of our community. Our Board members serve as ambassadors for the orchestra and bring perspectives and talents that are critical to our survival. I encourage anyone who has strong opinions on the orchestra and its future to serve on the Board.
What’s your vision for your orchestra in the future?
My vision is that the Hershey Symphony Orchestra continues to flourish artistically and provide an opportunity for all players to grow in their individual musicianship. I also hope to see the orchestra recognized as a community resource—for artists, our youth, and for the wider community to have access to high-quality live music that will enhance their lives and expand their musical horizons. I believe the symphony has been and will continue to be recognized as critical to the quality of life in the community.
“A community orchestra can only thrive if it supports the interests of both the orchestra members and the audience. Underscoring the relevance of the orchestra to its players and the community is critical.” –Ann Ouyang, President, Hershey Symphony Orchestra
Robert Pick, Chair, Philadelphia Youth Orchestra Music Institute
What is your philosophy of governance for nonprofits like orchestras? How involved should boards of directors be in day-to-day operations?
PYO Music Institute Board envisions, guides, and supports our professional staff, but does not engage in the day-to-day operations in any material way. The one exception area would be development and fundraising, in which Boards often have a more active role, but typically work under the auspices of a professional development director. Our Board spends the vast majority of time thinking about our mission, longer-term strategic matters (facilities, development, endowment), community engagement, efforts enriching professional efforts, and providing vision and counsel to our CEO, Maestro Louis Scaglione, who captains the ship day-to-day.
How do you view your board in light of growing calls for equity, diversity, and inclusion in orchestras?
For us, a real emphasis has been on belonging. While diversity, equity, and inclusion are actions, belonging is a feeling or a sense. A feeling of belonging is vital to a sense of comfort, safety, and inclusion, all of which are vital in today’s tumultuous times. We take this seriously, not just for our students but for the families who come in contact with PYOMI.
Our revised five-year strategic plan and newly adopted DIEB (Diversity, Inclusion, Equity, and Belonging) Committee build on what was already a solid, open, and inclusive foundation for our students and their families. Being a reflection of the Philadelphia area, diversity has many lenses, especially including our immigrant and first-generation families who came to our community from all over the world, comprising a significant portion of our nearly 500 students served annually.
What inspires you to serve on your orchestra board?
A perhaps trite answer would be: the students and the music. And this would be true. But as I have become more involved with PYOMI over the years, I am also inspired by our families, our faculty, and our CEO. When I sit down to a rehearsal or performance of any of our ensembles, I see and hear community—diverse students coming together as one to produce music that is grand and timeless. I see and hear them discovering on their own that hard work and commitment do pay off and lead to not just excellence and applause, but joy. How could one not wish to be a small part of this?
“When I sit down to a rehearsal or performance of any of our ensembles, I see and hear community—diverse students coming together as one to produce music that is grand and timeless.” –Robert Pick, Chair, Philadelphia Youth Orchestra Music Institute
Patricia Stagno, Vice President, Butler County Symphony Orchestra
What are the most pressing opportunities and issues your orchestra is facing right now?
We are at the beginning of a nationwide conductor search. Our conductor, Matthew Kraemer, was very fortunate to accept a position with the Louisiana Philharmonic and just conducted his last concert with us in April 2023. As the Vice President of the Butler County Symphony Association Board of Directors, I’m very proud of the product that we produce, the orchestra, and the improvement that has happened over the last 11 years under Kraemer. He has taken great steps to set the bar higher each season, and we need to keep continuing with that growth because we don’t want his loss to be felt in that respect.
How do you view the orchestra’s role in your community?
We have an outreach committee that is really growing in its involvement with the community, providing three months of free summer concerts every Friday. We also have a “Symphony Storytime” that we do in collaboration with the Butler Public Library, and we’re looking to grow that involvement even more. Orchestras absolutely have to keep growing and changing. As your audience changes, you need to provide more opportunities to reach them.
Our patron base is growing due to changes in some marketing strategies that we’ve used over the past years, and we have a very strong community outreach committee and educational initiatives, especially that take up about 25% of our budget each year.
We bring a reduced orchestra into area schools during the fall to present our programs and provide content for teachers. We also have a partnership program with other school orchestras, a side-by-side concert, and an annual concerto competition, so we recognize young musicians of note.
What is your vision for Butler County Symphony Orchestra?
We’d like to increase our legacy giving, sponsorships, and corporate underwriting of some of our concerts. We also would like to be able to bring in guest artists and soloists and program some very meaty works, which I know the orchestra is very capable of handling. We also have a possible option to relocate to a new venue of our own. Right now, we are renting space in a school building, so that’s something in our vision three to five years out.
“Orchestras absolutely have to keep growing and changing. As your audience changes, you need to provide more opportunities to reach them.” –Patricia Stagno, Vice President, Butler County Symphony Orchestra
