I recently read a fascinating article on Polyphonic.org about “growing” audiences.  The marketing consultant Christopher Stager was on a conference audience development panel in London and had some practical advice about how audiences “behave.”  He outlined 8 fundamental beliefs he says we should consider when trying to get people into our concert halls. 

How many of us think or care about how audiences respond when we plan our seasons?  How many of us ask our artistic or music directors for programs with no thought of the marketing and attendance implications? 

I am on a list serve discussion group of managers who are members of the League of American Orchestras (formerly known as the American Symphony Orchestra League.)  The topic we are currently debating is how music directors, marketing staff and managers should interact and eventually agree on concert programs.  The practice in our field varies widely.  Gone are the days when music directors turned over programs and said, “Here, go sell it.”  Today market pressures require a more collaborative approach. 

In my own experience, staying true to one’s institutional priorities, matching those fundamental guiding principles to artistic personnel who share them, and of course employing the art of compromise, all combine in helping achieve those objectives.   

The good news as reported by Stager is that overall, repertory is more important than guest artists.  That’s good news because guest artist fees, especially for the big names, have skyrocketed past our ability to recoup them at the box office.  Stager says the best selling concerts are those that match a big name with a mega popular piece.  Yes, Perlman playing the Tchaikovsky Concerto will pack ‘em in.  

I always wonder at badly attended concerts why the marketing didn’t work.  Then, I realize at all Mozart concerts or when people cram the aisles to hear Boleró that audiences are shrewd, selective consumers.  People know what they like and act accordingly.  Never underestimate the intelligence of your audience. 

Here’s also what I find hopeful: Stager says that “an institution’s unwavering will to present interesting programs – not simply popular ones” builds audiences over time.  Great, so we can have our cake and eat it, too, that is, if we do everything else right.    

But, since audiences tend to select the familiar and since ticket prices are accelerating beyond inflation, “audiences are less willing to risk the investment in what they don’t know.  As ticket prices increase, their trust declines.”   

Stager goes on to discuss “where” and “when” we program concerts, with interesting anecdotes to support his opinions.  But the most compelling thing he cites as fact is that a solid music education is the main predictor of attendance.   

Ta da!  Or should I say, “Duh?”   

How many of us have asked that question of our audiences?  And how many of us are actively marketing to community music schools, conservatory students, or collaborating with those organizations on audience development programs?  I don’t do enough of that yet for my organization, certainly at the level the evidence suggests I should. 

Stager’s presentation closes on a hopeful note: that Classical music is in transition, not decline.  I agree and feel that while our business model may be antiquated and not yet fluid enough to respond to our audiences’ needs, there is a large and loyal market share for our music.  The way to reach audiences, the solution, whatever that is, has to be found by each of us on the local level.