Each summer, the Elgin Symphony Orchestra embarks on a thorough Strategic Planning exercise. One of the topics that comes up on a regular basis is the manner through which we should serve the community. The ESO is not unique in this discussion. I assume every well run organization, symphonic or not, non or for-profit, must remain clear on its relevancy. I find the subject fascinating.
During our discussions, some of the smartest members of the Strategic Planning committee argue that serving our community means attracting members of the full demographic into our concerts. Some feel that we should bring Hispanic, African-American, Asian, wealthy, poor, folk with advance degrees, and those without college education to our classic concerts. Others believe that we need to program special concerts to serve specific demographics that they believe are unlikely to attend our current offerings.
These arguments make sense. Depending on what numbers I hear bantered about, only 3 – 10% of the general population will attend symphonic concerts on a regular basis and some of our Board members fear our organization will have a difficult future if we do not serve a larger percentage. They are also worried that the population is shifting away from the Eurocentric audience we have traditionally served. Finally, they worry that the classic audience is getting older and that not serving a younger audience will doom us in the future.
When I think of how we can best serve our community, I refer to Jim Collins’ book Good to Great. In his book, Collins studies seven constants experienced by 11 companies that successfully transitioned from long-term mediocrity to long-term greatness. One of these constants is that each of the companies had what he calls a Hedgehog Concept. Simply put, the Hedgehog Concept is the discipline to determine a single goal that balances what you are deeply passionate about, what drives your economic engine, and what you can be the best in the world at.
If the Elgin Symphony Orchestra is going to focus on serving our community, I think we need to ask ourselves how we can serve our community in a way that is better than anyone else in the world. I do not think we can serve non-Eurocentric audiences better than anyone in the world.
Chicago Sinfonietta has a greater passion for this than any symphony I know of, and is located in the heart of a major city with a huge, wealthy, well educated, multi-cultural audience. They have a greater passion, and greater access to audience and resources to succeed here than the ESO does. I do not think we can serve younger audiences better than anyone in the world.
Orchestra X, who saw incredible success around the turn of the millennium, had the passion and the young audience of Houston to succeed better than anyone else on that front. The Grant Park Music Festival’s free concerts can better serve access than we can.
I do not think the ESO can try to be the best interpreter of Wagner (this might belong to the Berlin Philharmonic) or American music (this might belong to the San Francisco Symphony). So what can we do better than anyone else in the world? The Elgin Symphony Orchestra can bring educated and upper income people into downtown Elgin better than anyone else in the world, and this is a service to our community needs.
Elgin is an incredible city. During the decade I have lived here, the city has experienced a renaissance unlike most ever see, and it clearly is just getting started. Unfortunately twenty years ago, Elgin was experiencing tougher times; and perception lags reality. Of the city’ many tools, we are its most effective at changing who populates its downtown. Elgin has three entities that bring significant numbers of outsiders into our downtown area on a regular basis: the Grand Victoria Casino, the private schools, and the Elgin Symphony Orchestra.
By far, the Grand Victoria brings the most people in on an annual basis, but the median income is the lowest of the three organizations. The private schools bring in a high income demographic on a regular basis, but their numbers of people affected are relatively low and their families do not spend a lot of time in our downtown.
The Elgin Symphony Orchestra brings 55,000 people into downtown Elgin each year, and assures that they have an enjoyable time; with the result that the vast majority want to come back. By clarifying our goal of serving our community through bringing educated and upper income people into downtown Elgin, we achieve the Hedgehog Concept. We are serving Elgin in the way it feels the greatest impact, we are doing what we can do better than anyone in the world, the people we are serving provide the economics we need to propagate our future service and building downtown Elgin is what we are passionate about.
How an orchestra should serve its community is not an easy question. I believe the ESO should focus on bringing educated and upper income people into downtown Elgin, but that does not mean that the Elgin Symphony Orchestra can forget broadening our constituency or serving our young – and we have (and must have) a number of highly successful strategies in these areas.
Chicago Sinfonietta, Grant Park Music Festival and Orchestra X have clear and effective ways of serving their communities that work well for them. One day, the Elgin Symphony Orchestra might find a better way to serve Elgin, or might define our community in a way that changes how we serve. In the meantime, we will need to regroup once a year and have a deep discussion on the subject to be sure we agree that we are on the right track.
Comments
Competition
Tue, 10/3/2006 - 2:00pm — Guest (not verified)Marc, Yes, there is, of course, an element of competition between the classical music organizations. And we do need to define ourselves clearly for all of the audience segments we pursue. Our data tells us that we don't lose audience to other classical music organizations - we lose to patrons moving, becoming physically unable to attend, or in some cases, not being able to afford the tickets. We are almost never told by non-renewers that they have gone to another orchestra. Audience development is a complex and sometimes vexing challenge. Maybe some of us (and you?) can blog about it on this site. Thanks for your comments! Jim
Serving our Communities
Tue, 10/3/2006 - 7:44pm — Michael PastreichMarc, Thank you for your follow up email. I am not used to the “blogosphere” and do not yet understand the etiquette. I found it hard to respond to what felt like a curt, not thoroughly considered response to something I spent some real time composing. Your responses since make it much easier for me to understand where you are coming from and what you are driving at. Admittedly, my response about us playing music that people like was overly simplistic. You are right, I am sure the Chicago Symphony Orchestra, Chicago Sinfonietta, Music of the Baroque, Grant Park Music Festival are all equally convinced that they are programming music that people like to hear. The way that we all succeed and while programming different types of music is that we are all programming music that different subgroups find attractive. We actually know fairly clearly that we are not competing with any other orchestra, except the Chicago Symphony Orchestra – even then only in specific zip codes. We have traded mailing lists for specific marketing initiatives and have embarked on cross promotions with many symphonic groups, and have seen minimal response, despite that fact that list trades with other organizations have proven to be among our most effective marketing tools. The audiences we are focusing on are people who live in the suburbs and do not want to drive into the city. These folks tend to have a number of attributes that we can program around, both on stage and throughout the concert experience.
I personally think that
Wed, 10/4/2006 - 3:50pm — Guest (not verified)I personally think that everyone is mostly wrong about what sorts of programmes attract a wider group of listeners to classical concerts. First of all, there's this odd belief that Mozart is popular. Mozart is only popular among casual classical listeners. To fans of pop (and classical fans like me) Mozart is simply boring boring boring. I did an experiment with a friend of mine who knows nothing about classical music and would not dream of listening to it. I played him various pieces to see what he would like. Brahms clarinet quintet - boring and slightly annoying. Rite of Spring - kinda cool. Quartet for the End of Time - totally fantastic! He loved the it! The trouble with the CSO and Lyric in terms of accessibility is that most of the affordable tickets are miles away from the stage. I myself am completely bored stiff at a classical concert if I'm not within five rows of the stage, and frustrated if I'm not in the nearest row (in front or behind) because people's heads get in the way. The other problem for those accustomed to pop is that classical audiences are so boring. They don't respond to the music while they're listening, they don't talk, they don't move. Many of them even go to sleep! I firmly believe the way to attract unaccustomed people to classical concerts is to put them in the front row, and play pieces that are loud, and/or lots of weird sounds and percussionists running around. John Adams' Naive and Sentimental Music, for example. The Rite of Spring. Yes, probably the Turangalila Symphony although I personally hate the thing. By the way, there are plenty of opera lovers at the CSO. Just not those opera-goers who only subscribe because of the social cache.
What People Want
Thu, 10/5/2006 - 8:59am — dramaqueenGuest, This is one of the most intelligent posts on this site in weeks. Most people don't want to sit through the same dusty old pieces performed in exactly the same manner. The concert experience can be stultifying and often leaves you asking, "Where is the entertainment in this?" And you couldn't be more right abut classical music audiences being boring. They are! Fortunately there is a glimmer of light at the end of this tunnel. Grant Park Music Festival, Chicago Sinfonietta, and even the CSO are programming some interesting, and dare I say it, entertaining concerts. Hang in there and maybe these people will figure out that business as usual might not be the recipe for success for very long.DQ
Jim, It's true that area
Mon, 10/2/2006 - 3:07pm — Marc Geelhoed (not verified)Jim, It's true that area orchestras are all competing against all leisure time activities, and since they are, they are all therefore in competition with each other. It's part of the reason why the CSO's attendance has fallen; if people in suburban areas want to go to an orchestra concert, they can go hear one in their community without coming all the way downtown. Now, someone who goes to an ESO concert is definitely more likely to go to a CS concert than someone who's never been. They're fans of the genre. But I go to a lot of concerts, and the people I see at Chicago Chamber Music concerts aren't at Sinfonietta concerts, and opera fans aren't at the CSO. I firmly believe that the competition can be friendly, but the need for defining yourselves can only help you find those new audience members you're hoping to attract. Look at pop music. The genres there are so specific (math rock vs. prog rock vs. emo vs. etc. etc. etc.). People like specific today. The more specific an organization can be, the better off they'll be.
Speaking for the Sinfonietta
Mon, 10/2/2006 - 1:09pm — Guest (not verified)Michael and Marc: Michael, you are right on the money about the Chicago Sinfonietta's "headgehog" principle. I believe we do appeal to diverse audiences better than most, if not all other orchestras, and this is something that we focus on a great deal. Our programming reflects our commitment to diversity, and hopefully attracts some new people to classical music along the way. Marc, I'm not sure I entirely agree with your notion that ESO is in competition with us, the CSO, and others. I have always felt that we in the arts compete with all of the liesure time/liesure dollar activities that people can choose. In fact, if someone attends Elgin's concerts they become a much better prospects for the rest of us, and vice versa. The trick, I believe, is to broaden the pool of prospects by attracting people from other activities e.g. watching TV, skiing, attending theater to classical music. One of the reasons we joined forces to found this site is for exactly that purpose -- to win the battle for mindshare. One thing is for sure. In a market as crowded as ours is, differentiating your product is critical. If ESO's audience understands and reacts to the strategy Michael describes, then it should succeed. Jim Hirsch
Mostly true
Fri, 9/29/2006 - 12:34pm — Marc Geelhoed (not verified)Well, sure, Berlin can play Wagner better than the ESO and the SFO can play American music better, and Orchestra X, I guess, can play new music better. But you aren't competing with them. You're competing for listeners with the Chicago Sinfonietta, with the CSO, and with the other area orchestras. How you are differentiating yourself from those groups is far more interesting, and worthwhile as a mental exercise, than comparing the ESO to the Berlin Philharmonic.
Serving our Communities
Sat, 9/30/2006 - 9:56am — Michael (not verified)Mr. Geelhoed, As I see it, your question does not fit my posting. The essay was on community service and how the Elgin Symphony Orchestra plans to become one of the great organizations in the world. It had nothing to do with competition or audience building. Of course the Elgin Symphony Orchestra does spend huge amounts of time figuring out how to differentiate itself from other orchestras in our region. Our read on Chicago Sinfonietta’s programming is that they are dedicated to programming funky stuff with a multi-racial tendency. The first time I attended one of their concerts, my understanding of an orchestra’s ability to attract a strong African-American audience was forever changed; as were several of the ESO’s strategies. Our read on the Grant Park Music Festival is that they are dedicated to first rate, outdoors, free concerts. Unless we build a new outdoor facility – which is unlikely before we finish our new indoor one – we will remain fundamentally different from them. While I have never asked anyone at the Chicago Symphony Orchestra, our read has been that they had decided not to become a museum piece. They played new and different music, and they played it over again, until the audience had a real opportunity to decide whether they liked it. Their programming philosophy seems to be changing, and we are studying its fermentation. The Music of the Baroque plays baroque music. On the national level, Orchestra X’s focus has been on an audience of 20 somethings. The Elgin Symphony Orchestra differentiates itself by performing music that people like. We play pieces that people buy tickets for because they know that they like them. We play pieces that almost no one has ever heard before, but that we are confident they will enjoy once they arrive. We play pieces that that are old and ones that have just been written, but we are clear on our missionary intent. We want to attract people into our hall and have them leave saying, “I like classical music and I want to come back”. While this was not the subject of my earlier posting, you are correct; it is a profoundly important issue. What is also important is that neither the subject of my original posting, nor this response is a mental exercise. Both are deeply considered and debated, strategic strategies for how the Elgin Symphony Orchestra plans to propel itself to greatness.
Mr. Pastreich,Conversations
Mon, 10/2/2006 - 10:20am — Marc Geelhoed (not verified)Mr. Pastreich,Conversations go in unexpected directions in the blogosphere, and don't always hold to the topic begun by their instigator. While I grant that reading why the ESO serves Elgin is interesting, I also think that what is most interesting to the readers of this blog is what makes the ESO different from the other groups. Maybe readers already know, but maybe they think it's just another orchestra playing Beethoven. The ESO "plays music that people like." I'm sure readers here would like to know what that music is, and how it differs from the music played by other groups, whose leaders presumably think people like it. It doesn't have to be adversarial, you don't have to say, "Unlike so-and-so, we don't play XYZ," but what you plan to do to serve the people of Elgin and attract them there is worthy of discussion. MoB plays music on either side of the Baroque era, by the way. All best, Marc
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