Fearless Journeys: Innovation in Five American Orchestras League of American Orchestras

A publication of Made possible by i n f i v e fearless american journeys: innovation orchestras

fearless journeys: innovation in five american orchestras league of american orchestras

Fearless Journeys insightful provides accounts of several that have orchestras found innovative solutions to challenges that all face. orchestras Center for Arts and Cultural Policy Research Director, Studies, Princeton University Drawing on interviews with scores of participants, Drawing on interviews with scores can the book demonstrates, first, that solutions requires be found and, second, that innovation and an understanding flexibility, leadership, strong for better or that music and management are, worse, inextricably intertwined in the pursuit of a mission. The volume will be the orchestra’s managers seeking courage for useful resource and guidance in taking the necessary steps to equip their institutions for the 21st century.” Paul DiMaggio “ 33 West 60th Street, Fifth Floor, New York, NY 10023 New York, Fifth Floor, 60th Street, 33 West

Associate Director, Curb Institute for Art, Enterprise, and Curb Institute Associate Director, University Vanderbilt Public Policy, Contrary to popular opinion that orchestras Contrary to popular opinion that orchestras this book instead dinosaurs, organizational are that serve highlights five symphony orchestras innovation. The as models for organizational out: ‘If these institutions can do book screams innovation is possible in other it, then surely by fields,’ especially those less hampered and expensive facilities, large rigid hierarchies, cost inflexible union contracts, inefficient and the ‘dead hand’ of tradition. This structures, leadership, book demonstrates that with visionary long-term thinking, process, an open creative any and continuous monitoring and coordination, can successfully innovate and remain organization competitive in a changing environment.” Steven J. Tepper Fearless Journeys: Fearless Journeys: in Five Innovation Orchestras is a American book. courageous “ ii

ASO Theater of a Concert—La Bohème at Verizon Wireless Amphitheatre fearless journeys: innovation i n f i v e american orchestras

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10 Digit ISBN: 0615338526 13-Digit ISBN: 978-0-615-33852-1 Fearless Journeys: Innovation in Five American Orchestras 3

MetLife Foundation was established by MetLife to continue the company’s long tradition of corporate contributions and community involvement. The Foundation supports programs that improve education, promote health, encourage parental involvement and family engagement, help revitalize neighborhoods and stress accessibility and inclusion. The Foundation contributes to arts and cultural organizations across the United States, with an emphasis on The League of American Orchestras increasing opportunities for young leads, encourages, and supports people, reaching broad audiences America’s orchestras while com- Fearless Journeys: through inclusive programming, and municating the vitality and value Innovation in making arts more accessible for all of orchestras and the music they people. For more information about perform. The League strives to Five American the Foundation, please visit its web stimulate the exchange of ideas and Orchestras is made site at www.metlife.org. practices, promote innovation, and foster unity across the orchestra possible by a field. The League delivers meaningful generous grant from information, learning and leadership MetLife Foundation. opportunities, grass-roots advocacy and other services to its diverse membership, which encompasses nearly 1,000 member symphony, chamber, youth, and collegiate orchestras of all sizes. Founded in Additional support for 1942 and chartered by Congress in Fearless Journeys is 1962, the League links a national provided by a grant from network of thousands of instru- the National Endowment mentalists, conductors, managers, board members, volunteers, staff for the Arts. members, and business partners. Visit americanorchestras.org to learn more. contents

5 About the Author

6 Foreword: Why “Fearless” Journeys?

7 Introduction

Case Studies

12 Los Angeles Philharmonic For the People: Democratizing Artistic Vision

26 Memphis Symphony Orchestra Service to Citizenship: Building Artistically Engaging Community Partnerships

40 Pacific Symphony Illuminating Meaning: Putting Music in Context

56 The Saint Paul Chamber Orchestra To Boldly Go: Creating a New Artistic Leadership Model

72 Atlanta Symphony Orchestra From Silos to Synergy: Building a Collaborative Organizational Culture

Practice makes perfect! Leading From Conclusion Every Chair® participants practice before performing their compositions before the entire workshop 86 The Road Less Traveled: Toward a New Foundation

96 Acknowledgements

98 Photo credits Fearless Journeys: Innovation in Five American Orchestras 5

about the author

Dr. Lela Tepavac is the president and founder of Fit Leadership, a consulting firm dedicated to helping companies and their leaders agencies on diverse topics. A contrib- make the best personnel choices uting author to a number of articles, for top roles and build cultures she is a current member of the nosis, organization culture change, that can attract exceptional people American Psychological Association, intellectual capital building, and and fully leverage their talents. NYHRPS, and Women on Wall Street. She has developed several propri- change metrics. She has worked with etary Fit Leadership methodologies numerous Fortune 500 companies Dr. Tepavac holds a PhD in social/ and models, such as: “Leadership across the media and entertainment, organizational psychology from Due Diligence: Are the Leaders Fit publishing, banking, airlines, retail, Columbia University, an MA in to Lead?” and “Leading Creative insurance, pharmaceuticals, medical, social psychiatry from the School People: Building an Organization to manufacturing, and high technology of Medicine in Zagreb, and a BA in Enable Innovation.” industries. Her clients have included liberal arts from the University of The New York Times, PepsiCo, United Zagreb. Dr. Tepavac was a Partner at Mercer Airlines, Time Warner Company, Delta Consulting for thirteen years Citibank, Credit Suisse Asset (1993–2006), working with executives Management, American Reinsurance, of major corporations to strategically Best Western International, Shell, design and execute organizational Texaco, Saudi Aramco, Bristol-Myers change. She specialized in the areas Squibb, The Limited, International of executive leadership assessment, Paper, Lucent Technologies, Ford CEO evaluation and succession, Motor Company, Corning, Unilever, organization assessment and diag- and Raytheon.

Before joining Mercer Delta, Dr. Tepavac held a research position at Columbia University and worked in the areas of conflict resolution and mediation. She has led a number of studies at the Institute for Social Policy in Zagreb, Croatia, and has consulted to several United Nations 6 foreword: w h y “ f e a r l e s s ” journeys? relative stability, significant improvements in compensation and working conditions for large numbers of musi- As I think about innovation in cians, and most importantly, more orchestras, I’m reminded that there service to American communities. is something wonderfully certain about the way that orchestral concerts are Yet as this goes to print, many orches- prepared. Musicians resolve technical tras are struggling. They are buffeted challenges, fine-tune coordination and not only by economic turbulence, collaboration, and align vision—often but also by the accelerating rate and in the course of three days and four degree of change in technology and in is defined as new practice that helps rehearsals. On the evening of the third American culture. Even the orchestra orchestras continue to fulfill their day, they turn out an exquisite perfor- field’s three unwavering values—the missions amid the reality of shifting mance. Mission accomplished! This commitment to excellence in all areas, environments, and enables them to be creation of performances is the abso- the primacy of virtuosic leadership, more flexible in adapting to change. lute center of the work of the orchestra and the adoption of best practices— organization. Is it any wonder that no longer are enough to sustain many The League of American Orchestras this field has been fiercely attached to orchestras as they confront the enor- views this book as a beginning. We longstanding practices? mity of change in the environment. hope that it will encourage all orchestras and their stakeholders to reflect on The same predictably good outcomes This is why orchestras have—some- their own capacity for innovation, and have long held true for orchestras’ times reluctantly—turned to innovation. to pursue it at all levels of organiza- operational structures. The modern Today, experimentation and change tional activity. It is also a call to action. American orchestra was built on a are no longer organizational rarities It is time to accelerate the recognition body of practice that emerged to suc- among orchestras. Of the many fine that orchestras must embrace inno- cessfully deliver more and more varied examples of promising innovative vation if they are to continue offering forms of orchestral experiences to a strategies, we chose five that represent exciting musical experiences that are growing audience. The refinement of the diversity of size, geography, and vital to American life. skills in fundraising and marketing, approach that characterizes American the building of sizeable endowment orchestras today. In the sixth chapter Jesse Rosen funds, introduction of new “product our researcher captures the common- President and CEO lines,” deepening engagement in edu- alities among them to reveal a new League of American Orchestras cation—all of these helped to create an organizational and leadership model infrastructure that supported growth, for orchestras.

No one is claiming that these innovative strategies are a silver bullet; in fact, some of the orchestras in this book continue to confront major challenges despite their good work. Rather, “promising innovation” in this context SPCO Violinist Daria Adams

introduction

American orchestras have long ➜ defied predictions of their immi- nent demise. They have consistently met difficult challenges with creative that also called for driving research leadership, successfully managed their and development and fostering the complex institutions, and developed exchange of ideas across the field. new sources of revenue to sustain their In 2008 the League initiated a study, business models. This problem-solving made possible by MetLife Foundation, journey has taken the field in rich new with additional support from the directions in recent years as orchestras National Endowment for the Arts, to across the country have accelerated explore and document promising inno- their efforts to test new approaches vation in American orchestras. The and explore unconventional ideas. purpose of this research was to under- Orchestras arguably have never stand the organizational enablers that needed this new thinking more than underpin such innovation and stimulate they do today. Faced with continu- the sharing of best practices across ing challenges to their operating the industry. The League appointed a models, they are working hard to keep Steering Committee from the field to the art alive as a vital component of oversee the study and provide guid- American society. In 2006, the League ance to consultants. of American Orchestras committed to Research Process help orchestras build their capacity for innovation, as part of a strategic plan The principal investigator for the study was Dr. Lela Tepavac of Fit Leadership LLC. An organizational psychologist, Dr. Tepavac created a conceptual 8

framework for the research based on a review of existing innovation literature, her knowledge of innovation models based activities or processes that, in other industries, and interviews following new pathways, transform the with fifteen experts in the orchestra orchestra in ways that create sustain- field. She developed a working defini- members, musicians, staff, external able value, inspire and engage internal tion of innovation in orchestras and collaborators, consultants, and com- and external constituents, and respond identified initial innovation criteria. munity stakeholders. The interview to the needs of current and future Concurrently, the League administered questions varied across participant audiences. a short survey to member orchestras, groups, depending on their roles and asking them to list and evaluate their responsibilities with regard to innova- There are many examples of extraor- innovative activities across a variety of tion activity within the organization. dinary leadership and innovation areas. From among the 150 responses, Researchers used the interview pro- among America’s orchestras. Fearless the League and project Steering cess to document the emergence and Journeys tells the stories of five of Committee selected five orchestras to implementation of innovation within these orchestras and their quest for participate in the innovation study. the organization, critical success fac- renewal through innovation. Their tors, impact, lessons learned, and annual budgets range from $5 million Researchers visited all five orchestras future plans, along with orchestra his- to $95 million. Their characteristics, in March and April 2009. Using the tory and context. They also conducted operating models, geographical set- innovation model and data collec- several focus groups with musicians, tings, and cultural environments are tion tools developed by Dr. Tepavac, staff members, and community as varied as their challenges. But one they interviewed approximately 20 representatives. thing is constant among them: the fun- people from each orchestra, and a damental belief that business as usual total of 94 people across the entire The researchers then analyzed the will not take them where they want cohort. Included in these interviews interview material using a specialized to go. were CEOs, music directors, board computer application for processing qualitative data. They created a case Pacific Symphony operates in a fast- Innovation in study framework to organize the vast growing decentralized metropolitan amounts of information, and drafted area not far from Los Angeles, where case studies based on the qualita- Western classical music traditions are today’s orchestras tive data analysis. A member of the increasingly unfamiliar. In response, the Steering Committee served as the orchestra developed new approaches is characterized first reader for each case study. Once to contextualizing music, making this initial process was complete, the deep cultural connections with its by aggressive orchestras reviewed final drafts for community. Faced with financial chal- clarity and accuracy. The overall analy- lenges and widespread disaffection sis, as well as the distillation of lessons among its constituents, the Atlanta questioning of long- learned from the five case studies, Symphony Orchestra focused on a was a collaborative effort between the cross-constituent approach to building held orthodoxies and researchers and the League. a collaborative organizational culture that eliminates silos and increases traditions What Constitutes Innovation in synergy. The opening of Walt Disney an Orchestra? Concert Hall provided leverage for Innovation in today’s orchestras is the Los Angeles Philharmonic to characterized by aggressive ques- open its “high art” doors to a wider tioning of long-held orthodoxies and public, focusing on the powerful role traditions and the emergence of new of contemporary music and creative approaches to all aspects of the traditional orchestra model. According to Dr. Tepavac, innovation in orchestras refers to purpose-driven and context- Fearless Journeys: Innovation in Five American Orchestras Introduction 9

creativity and increase capacity within the organization? Does it help attract top talent and facilitate interdisciplinary projects. Looking access to resources (time, money, to link its identity to clear chamber- staff)? Does it focus on new pros- orchestra values and to build its pects/patrons who are not already reputation as an ensemble of chamber committed to the art form? Does musicians, The Saint Paul Chamber it keep traditional subscribers and One thing is constant Orchestra changed its artistic leader- patrons loyal and engaged? Does it ship model, vesting decision-making produce revenue? Does it enhance power in musicians and replacing the among them: audience demographics? music director with a rotating team of artistic partners. When the Memphis ➜➜Sustainable. Can the method the fundamental belief Symphony Orchestra lost its audi- or activity be replicated? Is it ence and revenue base, it came face adaptable? Does it perpetuate a that business as usual to face with its growing irrelevance in culture open to novel solutions a community that did not care whether and approaches? Does it build the the orchestra lived or died. Embracing infrastructure required to support will not take them a new mission of public citizenship, the innovative activity and process, orchestra began building artistically including broad ownership among where they want to go engaging community partnerships, constituents? Does it provide a using musicians’ artistic talents and framework for evaluating impact strategic and transformational impact leadership to serve community needs. and making decisions? Does it cap- than typical incremental efforts. ture lessons learned and turn them They were successful because they The experiences of these five orches- into institutional knowledge that occurred at the right time in the life of tras demonstrate that an activity is enhances skills and capabilities? the orchestra, because they emerged truly innovative if it is: Does it enable a cycle of continuing naturally from the context in which the investment in innovative activity? orchestra was operating, and because ➜➜Meaningful. Does it have a purpose Does it generate ongoing support they reflected consensus within the and objective? Does it illuminate an from the organization’s leadership organization rather than being imposed issue or suggest a novel approach? and board? arbitrarily. Solutions were individual- Does it address one of the key ized, and they made sense for the areas that affect the orchestra’s orchestra in its time and place. well-being, i.e. artistic product, What do innovative orchestras have in common? community engagement, orga- In all the orchestras studied, innovation nizational capacity, etc.? Does it The immediate impetus for change in consistently was change fundamental assumptions all five orchestras studied was some and practice? Does it generate form of crisis. Financial difficulties, ➜➜Inspired and led by a committed positive response from the audi- leadership transitions, a poorly defined and courageous team of leaders. ence? Does it generate enthusiasm artistic identity, declining audiences, ➜➜Driven by an expansive vision that among organizational constituents? community apathy, and prolonged was well articulated and communi- Does it generate interest in the labor disputes are examples of condi- cated internally and externally. field? tions that inspired innovation in these ➜➜Effective. Does it solve the problem orchestras. The changes developed or answer the need it was designed organically, as a result of specific to address? Does it stimulate events, with all participants thinking through next steps and capturing the lessons learned along the way. Yet these innovations created far greater 10

The key was that artistic issues were fueling the discussions, and they were being examined ➜➜Coordinated by someone filling an explicitly identified integrator role. Having someone clearly respon- in new and interesting sible for keeping parallel activities The stories of these five orchestras are on track and for managing the meant to illuminate possibilities, inspire ways complex relationship dynamics of curiosity, raise questions, and provoke the work was critical to ensuring discussion both among orchestras and ➜➜Fueled by an open artistic model. communication and maintaining between orchestras, their communi- In some cases, the open artistic momentum. ties, and stakeholders. Together they model took form as a new way of form an exciting new paradigm for making artistic decisions. In others ➜➜Based on a strong foundation of American orchestras’ journey toward a it was a redefinition of what should artistic excellence. Technical more vital and vibrant future. be included in the orchestra’s stan- performance and the quality of con- dard programming. In still others certs are generally high throughout Catherine Maciariello it emerged as a new understand- the industry, and the fear of com- Editor ing of how artistic talents could be promising quality by changing deployed differently. In every case, conventional practices is deeply however, the key was that artistic ingrained. But these five orchestras issues were fueling the discussions, forged new ground. Liberated by and they were being examined in the security of their artistic strength new and interesting ways. rather than constrained by the fear of losing it, these pioneers showed that innovation is indeed the friend of artistic excellence.

The Colorado-based Bowed Piano Ensemble performs with Pacific Symphony in Orange County, California in 2008 case studies 12

BEGINNINGS A Context for Innovation

In America, the idea of going west triggers images of discovery, bold experimentation, risk-taking, and real- f o r t h e p e o p l e : izing one’s dreams. It is America’s defining metaphor. Going west has always promised economic gain and individual and artistic freedom— democratizing pioneers looking for elbow room, Gold Rush adventurers hoping to strike it rich, entrepreneurial computer geeks artistic vision on the trail of technological innovation and early retirement, surfers chas- ing the Big Wave, and starry-eyed Los Angeles Philharmonic artists dreaming of making it big in Hollywood.

Go all the way west and you find Los Angeles, the country’s second-largest city—a big, sprawling metropolis of nearly four million people offering year-round good weather, infuriat- ing traffic, and the thrill of living in the Pacific Ring of Fire. Los Angeles is a young and diverse city. Over 70 percent of Angelenos are under 45. Latinos and Hispanics constitute almost 50 percent of the city’s population, and non-Hispanic whites are increasingly in the minor- ity, today representing less than 30 percent of the city’s demographic profile. Los Angeles is also the world’s entertainment capital, an historic center devoted to television, motion pictures, interactive games, and recorded music. The city is a permanent magnet for talented international artists and a birthplace

Gustavo Dudamel conducts Youth Orchestra Los Angeles Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 13

While Fleischmann’s leadership brought recognition to the orchestra for its artistic programming and performance, it did not always produce financial stability. As the glory days of the early 1980s turned into worri- some deficits, a meager endowment, Under Borda’s leadership, the inadequate acoustics in the Dorothy Philharmonic now thrives with a Chandler Pavilion, and short-term $95-million budget and a concert artistic leadership, Fleischmann knew attendance rate of over 90 percent. It for high artistic energy and innovation the orchestra needed two things: a offers a 30-week subscription season across all art forms. new concert hall that would be built and a 14-week summer series at the not as a temple of culture but as a Hollywood Bowl. Borda is credited The Los Angeles Philharmonic has welcoming home for all the city’s resi- with changing the business model its roots in this history of money and dents, and a virtuoso conductor with of the orchestra and with creating a dream-making. The orchestra was energy, imagination, and powerful cha- work environment in which people founded in 1919 by philanthropist risma. When he enticed the young Finn are empowered to create solutions. and amateur violinist William Andrews Esa-Pekka Salonen to join the orches- “The difference between Deborah Clark, Jr., the son of one of the three tra as music director in 1992, he got and [Ernest],” says one long-time Copper Kings of Montana. In the 1930s the big thinker he needed. When Lillian employee, “is that you brought prob- LA became home for European émi- Disney gave $50 million to construct a lems to Ernest and he solved them. grés who escaped the war in search of new hall in honor of her late husband, You don’t bring Deborah problems, you professional opportunities in the city’s Walt, LA got what the facility designer lucrative movie studios, including the Frank Gehry called the “living room legendary conductor Otto Klemperer, for the people.” Fleischmann was not When Lillian Disney whose artistic leadership brought dis- to see the project through, however, tinction to the orchestra. and when he retired, it was embroiled gave $50 million to in controversy as public officials, cor- Ernest Fleischmann became general porate sponsors, patrons, and board construct a new hall manager of the Philharmonic in 1969, members could not agree on a multi- and he served in this post until 1998, tude of design, cost, and other issues. working closely in his early years with in honor of her late conductors Zubin Mehta, Carlo Maria Deborah Borda became president and Giulini, and André Previn to elevate CEO of the Philharmonic in 2000, and husband, Walt, LA the orchestra’s quality and reputa- it would be Borda who reinvigorated tion. Fleischmann was a quintessential the project and opened the doors of got what the facility top-down leader, tough-minded and Walt Disney Concert Hall, an archi- sometimes hot-tempered. Legendary tectural and acoustical marvel whose in the field, he is respected for his sin- dramatic profile mirrors the innovation designer Frank Gehry gle-minded devotion to orchestras, for that flourishes within. Borda’s imagina- his uncanny ability to identify artistic tive ideas for using the Concert Hall, as called the “living room and administrative talent, and for his well as her powerful collaboration with fundamental impulse to question con- Salonen, have made the Philharmonic for the people” vention. At the same time, he made it one of the most visionary, contem- clear who was in charge, and his style porary-minded, future-oriented, and did not always leave space for others innovative orchestras in the country. to influence decision-making, leading to charges of elitism and exclusion from some board members and community leaders. 14

bring the solutions. That’s the opening point for the real conversation about what should be done.” not only a vision, but also working conditions that bound them together. Today the Philharmonic is comfort- In preparation for the opening of the ably at home in its environment. It hall, she formed a cross-departmental behaves a lot like its city. “LA is a Inaugural Planning Committee and fairly experimental and loose place composers into the life of the orches- charged it with planning, coordinat- in a certain way,” says a composer tra, and stretching the traditional ing, and implementing all activities who has worked with the orchestra. boundaries of orchestral programming related to the building and occupancy “People are willing to experiment with practice through multi-faceted the- of the Concert Hall, as well as with the way they live their lives [and] I think matic programs and inter-disciplinary maximizing long-term collaborative we have been able to use that to our art projects. The tradition continued opportunities internally and externally. advantage.” in 2009 when 28-year-old Venezuelan Says one staff member, “We had such visionary Gustavo Dudamel became a good experience with the IPC that the Philharmonic’s new music director. it paved the way for doing this as a THE PATH TO INNOVATION regular part of our processes. When Becoming the Forward-thinking executive leader- people ask us how things get done People’s Orchestra ship—characterized by revolutionary at the Philharmonic, we continually ideas and a commitment to new go back to this model, a group of A History of Rocking the Boat music—also has helped provide a people coming together and solving a foundation for experimentation and problem.” A history of taking big risks on tal- innovation at the Philharmonic. Ernest ented young music directors keeps Fleischmann believed that modern The Best is Now the Philharmonic as experimental and orchestras should do more than pre- Building a reputation for creating loose as its city. Zubin Mehta was serve traditional repertoire. During his and presenting new music—as well 26 when he became music director tenure, the Philharmonic created the as for engaging audiences around in 1964, serving the orchestra for 18 Los Angeles Philharmonic Chamber it—requires a fundamental shift in years before leaving for the New York Music Society and the Los Angeles perspective for any orchestra. Going Philharmonic. When Salonen joined Philharmonic New Music Group, yet one step further and actively the orchestra in 1992, he was just 34. whose Green Umbrella concerts exploring cross-disciplinary links and He stayed for 17 years, feeding the became a model for the industry. intersections that lead to robust and community’s taste for the bold and Fleischmann is widely known for advo- provocative new forms and presenta- new, and re-imagining the orches- cating a more open artistic structure tion formats is completely new territory. tra’s artistic mission. Salonen made that would give orchestras flexibility First, the organization must believe significant contributions to American and would enhance their versatility and passionately and sincerely that classi- contemporary music during his tenure creativity. In an address he delivered cal music is an evolving art form, not a by commissioning works, integrating at the Cleveland Institute of Music, library of historic masterpieces. It must entitled “The Orchestra is Dead—Long believe that the fields of dance, theater, Live the Community of Musicians,” electronic media, and other disciplines Fleischmann proposed a loose struc- can inform and expand musical pro- ture of as many as 150 musicians gramming and performance. It must who could be configured in different believe that there are new discover- ways to serve a wide range of musical ies to be made and that the orchestra purposes. must be proactive in stretching and redefining its core artistic material. Upon her arrival, Deborah Borda insisted that Frank Gehry provide space for an office building next to the new concert hall and not miles away as previously planned, enabling all the orchestra constituents to share Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 15

time. “Our starting point,” he says, “was not that the best has happened already and the best happened quite At the Philharmonic, the familiar reper- a long time ago. If the best happened toire of the 18th and 19th centuries is when Brahms was alive, for example, important, but it is not more important Adams, Steven Stucky, Magnus then what’s the point? Our starting than the music of the 20th and 21st Lindberg, and Pierre Boulez. If one point was completely different. We centuries. Living composers (emerg- were to identify the median year of all decided that the best was yet to come. ing and established) receive the same the works we now play per season, What shall we do to make sure that respect and attention given their dead it would fall in the 20th rather than the best will arrive right here and right predecessors. So do important artists in the 19th century. Though we are now?” working in other disciplines. Non- still a century behind being ‘current,’ Building the People’s House traditional programming—imagined our shift forward chronologically has and executed in collaboration with been regarded as a radical step.” In A sense of place is critical to the leading theater, dance, and media Salonen’s view, there is nothing radical Philharmonic, just as it is to every artists—is the basis of the orchestra’s about it. Rather, it is the right approach orchestra. Obviously, not all orches- “identity programming.” New music for a modern orchestra living in real tras get to live, dream, and perform is integrated throughout the orchestra’s season, not offered discretely for Los Angeles Philharmonic presents Tristan a few aficionados. Big commissions & Isolde at Walt Disney Concert Hall. Conducted by Esa-Pekka Salonen with receive top billing and key placement guest soloist Christine Brewer. on the concert program. As one staff member says, “We would commission a 40-minute John Adams piece and would put it on the second half of the program. It was not the kind of formula where you say you’re going to give people their medicine and then let them get to the rest of it. It was clear in the programming how significant the piece was.”

Salonen is not only a gifted conductor but also a gifted composer. He brings a creator’s sensibility and sensitivity to programming, and he sees everything through a contemporary lens. During his tenure, he led the way in establishing the Philharmonic’s fundamental artistic orientation and principles, which included treating the entire program with an equal sense of adventure and sensitivity. “My view,” he says, “is that the most appropriate way to judge an orchestra is not only how well it plays Brahms, Beethoven, or Mahler, but also how it plays John 16

in an iconic building that symbolizes its city’s reach and vision, reflects its own commitment to innovation, and draws national and international attention to the work the orchestra does. If a picture is worth a thousand words, Deborah Borda and her desire to the Philharmonic makes a statement to create an entirely new artistic and its community every time it opens its business model for the orchestra; doors and goes to work. Esa-Pekka Salonen, whose departure from standard programming made the From its inception, Walt Disney Philharmonic arguably the “most intel- Concert Hall was imagined as a lectually lively orchestra in America” gathering place for the people of Los (The New Yorker); and the people of Angeles to share musical and cul- Los Angeles, whose diversity and rich tural experiences. The innovators and cultural traditions bring life and variety If a picture is worth a artists associated with the Concert to the building. The cumulative energy Hall were all non-traditional thinkers of these thinkers produced classical whose values are indelibly imprinted music’s Hall for All. thousand words, the in the building’s design and use: Walt Disney’s creative genius and his affin- The path to construction of the Philharmonic makes ity for the music of his time; Ernest Concert Hall was not an easy one. In Fleischmann and his revolution- the 1990s hope turned to despair as a statement to its ary abandonment of the traditional financial problems, lack of leadership, orchestra’s role; Frank Gehry’s novel political divisions, and controversy and breathtakingly unusual forms; threatened to dismantle the project. community every time Although construction had begun, the completion date was a moving target. it opens its doors and Institutional structures and competencies did not align with the complex goes to work needs of building and operating a new facility. The long-needed organizational renewal that paralleled construction of the hall, including structural and staff changes and a reinvigoration of major

Deborah Borda and David Bohnett on stage Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 17

management functions, was in itself a major undertaking. consensus and institutional structures Borda understood, however, what the necessary to implement it. Successful new hall meant for the orchestra, for innovation, says Salonen, rests on sev- artists, for music, for the city, and for eral core beliefs: People are innately the people of Los Angeles. Opening numerous open spaces within the curious, open-minded, and willing the hall became a major part of her building offer opportunities for small to experience new things if they can leadership vision. The hall’s purpose concerts, lectures and discussions, connect these experiences to their fit well with her goal of making the and informal mingling. contemporary lives. If conventional orchestra and its music widely acces- prejudices, arcane rules, old-fashioned sible. The Concert Hall was expected The impact of the Concert Hall was axioms, and social stigmas can be to resuscitate a languishing institu- overwhelming and immediate, yet it carefully peeled away, people are free tion and launch the orchestra into a provided a provocative new challenge to judge things on their own terms. It new era of success and innovation. It for the orchestra. Now the team had to is not the job of the audience to do was also the fulfillment of a dream for breathe life into the building. It needed this for themselves, but rather the Borda, for whom moving west was an to make good on its vision of bringing responsibility of the orchestra to create exciting and hope-filled prospect. music to the people in exciting and conditions that eliminate barriers and unexpected ways, shunning the field’s make the audience part of the artistic Once a long-awaited agreement legacy of orchestras as status-driven process. It’s about creating reciproc- between all constituents was finally elitist organizations and becoming ity. As Salonen says, a new work is reached, Borda put on her hard hat an orchestra of the people and for “a piece of music written by a human and guided every aspect of the hall’s the people. Could the Philharmonic being for other human beings—now construction. Walt Disney Concert establish itself not simply as a musical I am part of this chain, and it’s a very Hall opened in 2003. Architecturally leader but also as a thought leader, a satisfying feeling.” striking, with excellent acoustics, it cultural institution whose value and immediately became an icon and reach extended beyond music? Could Salonen also believes that there is an immense source of pride for Los it use the Concert Hall to derive energy a growing alienation in today’s soci- Angeles. In this uniquely welcoming from artists and from the public? ety that is dangerous for the human concert hall, 2,265 people surround Most important, would the orchestra psyche. This belief was the driving the orchestra in a family-like intimacy. live up to the expectations so shin- force behind his strategies for increas- The Concert Hall is comfortable, warm, ingly reflected in the hall’s design or ing accessibility at the Philharmonic. and inviting. Frank Gehry calls it a would the boldness of the architecture He believes that human beings have “sanctuary” where people can share overpower the orchestra’s institutional a biological need for rituals, and he experiences together. Most important, purpose and creativity? worked consciously to create them. it is truly democratic in design, with “When the orchestra plays, people good sight lines and stunning acous- are prompted to witness collectively Innovation in Action tics throughout that provide an equally a powerful sensory, emotional, and pleasurable musical experience for Opening Doors to intellectual experience. As society everyone in the audience—regardless Musical Experience becomes more fragmented in terms of how much they paid for their tick- of geography and technology, these ets. It makes everyone part of the Credit for the artistic transformation types of shared rituals allow us to pre- artistic equation. The building’s seam- of the past two decades and for the serve an element of cohesion in our less connection with surrounding abiding devotion of the Philharmonic culture,” he says. gardens eliminates barriers between to making programs and projects that the orchestra and its community, and resonate for audiences belongs to the partnership between Salonen and Borda, who both worked tirelessly to support their vision and to build the 18

Patience, dedication, unflinching “People from values and beliefs, an insistence on leading taste—all are part of the other cities and Philharmonic’s programming philosophy and approach. Programming is predominantly idea-driven and other countries are designed to reflect the Philharmonic’s brand and purpose. The orchestra calls makes multiple visits, is committed astonished when they it “purposed programming.” A pro- to the institution, and wants to see a gramming team of the music director, broad range of orchestral repertoire. come here to see the president, and the vice president of Designing vertical elements of the artistic planning plans the winter clas- program focuses on developing cross- sical concerts. This team works with genre and cross-profit-line activities. concerts of new music in-house experts in other program- These elements intersect with the ming areas, including jazz and pop, to horizontal program, and integrating with 2,000 people in develop multi-disciplinary projects and them is like production and marketing program the festival periods. The goal traffic control. During festival periods, their seats” is to construct a season that ensures the organization might be producing the right mix of “identity programs”— as many as 26 events during a two- Preserving cohesion in the culture was those eclectic, unexpected programs and-a-half-week period, including full the core element of the Philharmonic’s that define the orchestra’s identity as orchestra and Green Umbrella con- programs under Salonen. He inspired an innovator—and traditional bread- certs, recitals, visiting orchestras, pop numerous interdisciplinary projects and-butter programs. The orchestra’s music, jazz, theater, and dance—all that stretched the art form. He brought strong commitment to identity pro- while engaging with multiple partners jazz and world music into the Concert gramming is evident in resource around the city. During these times, the Hall. He integrated contemporary allocation decisions. It simply does not orchestra bombards the city with musi- music into the season with vigor and cut its “identity” programs. “If we make cal and cultural ideas. passion. He brought a creator’s per- cuts, we make them other places. If spective to all his work, whether in we were to kill an identity program, The Philharmonic’s concept-driven commissioning and performing new it affects who we are,” says a staff artistic festivals are designed to be works, developing a novel approach member. intense experiences, capturing mul- to a familiar masterpiece, or designing tiple visions of similar content in a festival programming. Artists should The programming team considers a compressed amount of time. They be leading tastes, he says, not follow- range of audiences and takes into are complex in design and curated by ing them. “Why should we accept that account a multitude of artistic experi- prestigious artists. Festivals include the broader public won’t care about ences. The team describes its process orchestra concerts, jazz, world music, a Stravinsky program?” he asks. “We as programming both horizontally and and electronic music performances, shouldn’t accept that. We should actu- vertically. In other words, it programs targeting a wide range of audiences ally find a way for the public to care.” horizontally for the subscriber who and providing multiple points of entry. Clearly, Salonen helped the public Visual and theatrical components care—slowly over time, one piece at a frequently enrich the artistic experi- time, with plenty of commentary and ence. Festivals are not simple thematic support to deepen knowledge and events at the Philharmonic—they comfort among audiences. One com- are conceptual projects. This is an poser says, “People from other cities important distinction and a critical and other countries are astonished programming imperative. Standards when they come here to see concerts of new music with 2,000 people in their seats. That took a long time to build up, but it is now a very solid part of our identity.” Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 19

Summer Sounds Music & Art for Kids at the Hollywood Bowl with the Shakti Ensemble, Summer 2009

Adams led the orchestra in the world premiere of a new work by Thomas Newman, featuring the ensemble. Recently completed is America and Americans, which was curated by Dudamel and focused on the shared cultural traditions of the Americas.

The Philharmonic abides by its core values of excellence and innovation. The most fundamental characteristic of the orchestra’s innovative approach is its exploration of ways to “grow the art,” extending it into proximate spaces and across artistic disciplines, setting high artistic standards and attracting new audiences from the worlds of dance, theater, visual arts, literature, and media who are inter- for content and learning potential are electric guitars. Subscribers and new ested in witnessing the confluence of high and clearly articulated. Curators young audiences came in full force unique artistic perspectives. These are charged both with creating a to the opening all-night show, which journeys into uncharted artistic fron- meaningful and powerful experience began at midnight, as well as to other tiers not only bring new audiences for audiences, while at the same time festival events. Concrete Frequency to the Philharmonic, they also help contributing to the Philharmonic’s (curated by David Robertson) created the orchestra reach a larger pool of brand. The job, says one staff member, sonic snapshots of urban life, includ- patrons and donors. At the same time, “is to create a season that is unique to ing Varese’s Ameriques and Ives’ the orchestra never loses sight of its the LA Phil. There are programs and Central Park in the Dark. The festival projects in our season that are not included films, hip-hop artists, and happening anywhere else. If you want graffiti art exhibits. The Shadow of “There are programs to see this project, you have to come Stalin explored the effects of a politi- to LA. We’re not interested in taking cal system on creativity and aesthetic and projects in our something else and re-purposing it for choices. us. We want to create new produced season that are not events.” In The Tristan Project, Salonen teamed with Peter Sellars and media artist Bill The Philharmonic has presented Viola to design a multi-disciplinary happening anywhere numerous festival projects. Minimalist art project based on Wagner’s opera Jukebox (curated by John Adams) Tristan und Isolde. The festival West else. If you want to see ranged from classic minimalist works Coast Left Coast (curated by John by Steve Reich, Terry Riley, and Philip Adams) celebrated California’s distinct this project, you have Glass to post-minimalist works, includ- musical culture. Dudamel led a concert ing Glen Branca’s symphony for 100 that included Salonen’s LA Variations, Lou Harrison’s Piano Concerto, and to come to LA” Adams’ City Noir. Adams conducted a performance of his own The Dharma at Big Sur. The Kronos Quartet served as resident artists at the festival, and 20

role in the community, defining its relevance as serving the broadest pos- new doors in the community, making sible population within its geographic the Philharmonic more deeply rooted in area. One civic leader says that the its local culture, helping the orchestra Concert Hall “is a visible landmark in learn how better to make cultural con- Los Angeles. It’s a source of cultural nections, and giving every child who pride. But I don’t think the Concert Hall wants one a musical instrument and a would have happened in the way it did place in a youth orchestra somewhere if [community] values weren’t operating in the city. Los Angeles is eager for at the center of the organization.” How access through inexpensive tickets this new relationship. In describing the does this relationship between core and multiple performance locations. intrinsic cultural impact and value of values and community relevance play engaging young people in musical per- out, and how has the Philharmonic The selection of Dudamel as music formance, a retired police officer says, used its advantages to deepen access director reinforces the orchestra’s “I’m pleased to learn of what you are for audiences in the Concert Hall and commitment to Los Angeles—not doing. I’ve never arrested a youth who throughout the community? just artistically but culturally as well. was playing a musical instrument, so I Dudamel’s own heritage makes imme- think there’s a social benefit there.” People gain access by being invited diate connections in a city that is to the table. The Philharmonic makes nearly 50 percent Hispanic. A populist Already YOLA—which is managed a conscious effort to be universally by nature, and a childhood member of through a unique partnership among present, participating in important the unprecedented training program El the orchestra, the Harmony Project, community activities and listen- Sistema (through which 250,000 young and the Department of Parks and ing to what is going on—artistically Venezuelans from poor backgrounds Recreation—has enrolled over 200 and otherwise. It regularly convenes play musical instruments), he was a students, most of whom are Latino or constituents to help the organization driving force behind the Philharmonic’s African American. Students receive examine and understand how it is decision to form the Youth Orchestra free instruments, lessons, and perceived. Treating diverse community of Los Angeles (YOLA). Borda says rehearsal space. In return they must representatives as full stakeholders in that Dudamel “sees the orchestra as commit to show up and to practice. the orchestra’s visioning and evalua- a metaphor for community, for civili- The EXPO Center Youth Orchestra, tion help build loyalty and ownership. zation. He has a very deep sense of the first YOLA project, began in 2007. The orchestra also has redefined its social process and the importance of “It’s hard work and commitment,” says educational programs as community- art and community.” The orchestra has one civic leader. “It can’t be something building projects, and it provides high hopes that Dudamel will open that’s just a couple of ribbon cuttings and then forget it. The commitment can’t run only at the board level, but Gustavo Dudamel it depends on musicians. You have to have buy-in from the musicians. They have to care about it.” With Dudamel at the helm, caring should come easily, and together he and his musicians may be destined to make permanent changes in the social and cultural environment of Los Angeles. Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 21

internal enablers have contributed to its success in transforming itself into a vibrant arts and business organization: Fearless Leaders The orchestra also Developing Readiness Clear vision, decisive action and commitment to artistic mission are the Key Enablers of hallmarks of Deborah Borda’s leader- has redefined its Program Innovation ship. She is a formidable executive with vision, courage, and exemplary educational programs Fortunately for the Philharmonic, credentials. She is known as an innovation and risk-taking do not go innovator and as a restructurer of against the grain in Los Angeles. While institutions. She is a musician with as community- the complicated ethnic tapestry of the a musician’s soul. A consultant who city might be considered challenging has worked with her often says, “She building projects, and for some arts organizations, for the has the head of a top-notch CEO. Philharmonic it presents a rich palette Any corporation in this country could it provides access from which to design far-reaching and use Deborah Borda’s head. You put innovative programs. Diversity and a [that] together with the energy to build history of risk-taking are among the and stick to a plan, and you get real through inexpensive fundamental environmental conditions change.” She has built the board into that provide context for the orchestra’s a forward-looking and committed gov- tickets and multiple work. The city is also home to artists erning body with a passion for music working in all media and genres. For an and for innovation. The board believes performance locations orchestra interested in breaking pro- that innovative projects are an essen- grammatic boundaries, the city offers tial part of the orchestra’s identity, and imagining the orchestra as it could be an unlimited supply of creative part- they commit resources to enable the and putting the financial plans in place ners, performers, thinkers, and soul work. to ensure continued innovation and mates. It’s easy to think about new leadership. forms, non-traditional collaborations, Borda asks questions: How can we do and unusual presentations. It doesn’t things better? How can we relate to Esa-Pekka Salonen’s strong con- hurt that Los Angeles is also home to our community in a much more inter- victions, openness to novelty, and Hollywood with all its glam and glit- esting way? How can we encourage a willingness to take artistic risks have ter, its narcissism, and its lessons on dialogue among musicians and non- earned him a place in history. Known branding. In Los Angeles it’s okay to musicians in ways that are informative sometimes for being headstrong, he make bold statements, to embrace and inspiring? How do we create a was still able to embrace good ideas ambitious plans, to dream of block- culture that prides itself on innova- from others whose aesthetics are not busters. It’s okay to wonder at all the tion and success? She empowers her completely aligned with his. In many marvelous possibilities. Most of all, it is staff to make decisions, and she holds ways, Salonen is an enigma. Called just fine to be a character. them accountable. She takes time to a “force” by many, he also has an explain the creative planning process intense quiet energy that translates to Against this backdrop of unique condi- to the board, building ownership and the public, and he became a beloved tions, the Los Angeles Philharmonic commitment. She focuses her atten- figure in Los Angeles. Says a long- puts its vision in play. A number of tion outward, monitoring and learning time collaborator, Salonen is like “a from the business environment inside beautifully oiled train that just keeps and outside the orchestra industry. moving at an elegant pace but keeps She is insistent on measuring success pushing aside anything that gets in its in ways that help the orchestra learn. She is maniacal about managing current performance and efficiency, but she and her team also are intensely focused on the future, relentlessly 22

Expertise and Knowledge Knowledge capacity is a prerequi- site for innovation. The Philharmonic way.” A strong but reticent intellectual recognizes and values strong talent presence, Salonen demanded not just across all levels and all departments. technical excellence, but technical In hiring new employees, the orchestra perfection. looks not only at professional credentials, but also considers how well an Equally fearless, Gustavo Dudamel individual would fit with organizational has just begun his leadership journey standards and culture. It places high at the Philharmonic, and he couldn’t is critical. That means the organization value on creativity, innovative thinking, offer a greater contrast. Following a devotes time and resources to ensur- and the ability to collaborate, often remarkably successful music director ing that its artistic programs are in seeking creative talent outside the who leaves an unmistakable legacy, he line with its mission. It is complicated industry in order to leverage a wide brings different strengths and different and challenging given the orches- range of knowledge and experiences. expectations, in particular the oppor- tra’s commitment to accessibility. The orchestra also engages schol- tunity for more meaningful community Managing the inherent tensions—real arly or creative experts from outside partnerships. There is nothing quiet or imagined—between an ambitious the organization, such as its festival about Dudamel. He is called “electrify- artistic agenda and deep community curators, to enhance the impact of its ing” and has a “warmth and humanity engagement requires solid artistic programming. that is palpable.” A Philharmonic staff alignment between the president and member says, “When you go to a con- music director, substantial knowl- Efficient Systems and Processes cert with Gustavo there is a heightened edge of artistic issues by the staff and The Philharmonic produces 250 sense of aliveness. You feel it. It’s very board, and cooperation among musi- concerts annually, and life there is much a community experience when cians. One musician says, “We have fast-paced and pressure-filled. Starting he is conducting, and everyone feeds to be very open-minded to play all with the organization’s business off his energy.” Like Salonen, he is an different types of music. We also have model, leaders have structured internal innovator with deep artistic instincts to be technically superior because systems and processes to maximize and convictions. His emerging lead- we do a lot of new music and we do performance and provide a strong ership is not a replacement for what it quickly. That is what Esa-Pekka has business foundation for advancing its has gone before, but a deepening and trained the orchestra to do. He is a artistic agenda. The Hollywood Bowl’s strengthening of it—just one more step flawless conductor in terms of never operations and programming have in the Philharmonic’s continuing artistic making mistakes, and he demanded been re-focused, making it a lucrative journey. that of us.” source of income to support innovative identity projects. Approximately Artistic Integrity Facilities and Branding 75 percent of the orchestra’s income A Los Angeles civic leader says of the Few orchestras have venues like Walt comes from ticket sales and other orchestra, “What drives the orches- Disney Concert Hall and the Hollywood earned income, much of it from tra’s existence, what drives success, Bowl. Together, the venues are big summer performances. is always going to be defined at the friends of innovation. The Concert Hall highest level. It’s artistic excellence. is famous world-wide. The Hollywood Regular strategic planning, bench- Lose that, you lose everything.” At the Bowl has been the hallmark of summer marking, and a system of key business Philharmonic the institutional tone and life in Los Angeles for decades. The indicators help the organization values are set in what happens at the 18,000-seat venue flourishes during evaluate performance, forecast alter- heart of the organization—creating the summer with sounds of rock and native scenarios, and make informed and advancing the art form. Integrity roll, blues and jazz, in addition to fre- quent performances by the orchestra. The Philharmonic has successfully made its venues part of its identity. Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 23

decisions about the future. Cross- departmental teams work regularly on large projects or issues. Team THREE STEPS FORWARD composition and leadership depend on the task at hand, but teams gener- Impact and Learning ally include senior and junior members of major departments. The process Cross-departmental teamwork has The Philharmonic can prove its suc- is organic, but also task- and time- strengthened the orchestra’s ability to cess. The number of subscribers driven, with emphasis on designing the be open and transparent. Staff share has risen from 18,000 at the Dorothy best possible outcomes or solutions. information and knowledge readily, Chandler Pavilion to 23,000 at Walt Leaders say that some of the orches- including financial information, and Disney Concert Hall. The orchestra tra’s most compelling festival ideas they typically make decisions after regularly sells 90 percent of its tickets. have come from cross-departmental listening to a wide range of ideas. It reaches 120,000 children through its conversations. There is a conscious effort to explain education programs. Its reputation as and clarify information. Ongoing a forward-thinking organization and a Alignment within the Philharmonic learning from internal and external nurturer of talent enabled it to attract grows out of a set of value-based sources is built into the daily life of the a music director whom Simon Rattle core principles, and people can read- organization. calls “the most astonishingly gifted ily articulate the organization’s core conductor” he has ever seen. The values. Staff understand the power and The culture also reflects a high level orchestra is known across the country meaning of efficient communications of personal attention and concern for as a destination for unique and mind- to advance the orchestra’s innovative colleagues. Musicians, guest artists, bending programs and projects. It has brand. Internally and externally, mes- and conductors talk about how well done this, as one civic leader says, “by saging is clear and consistent—from they are treated, and staff members being innovative in a way that has built subscription and festival concerts support each other’s work. “It is a huge audience rather than scared it away. to family and educational programs. gift to come to work every day and be The critical innovation always has to be Communications are always aligned engaged and excited about what you on the stage going into people’s ears.” with the orchestra identity, core values, are doing,” says one. Another adds, That civic leaders are able to articu- and objectives. “People love what they are doing, late the connection between creativity and they want to do the best job pos- and artistic value is a testament to the Supportive Culture sible. It is sort of a throwback to the orchestra’s success in making its mis- old days when my dad grew up and The Philharmonic’s culture has been sion clear and its programs accessible. the company really cared about its built over time to reflect the orchestra’s employees.” The Philharmonic also cites significant values and to enable artistic innova- impact on the art form as a result of tion. Excellence and risk-taking are at its commitment to composers and its the center of the organization’s culture. Cross- approach to keeping music alive by The highest possible quality is consid- working across genres and disciplines. ered the norm—from artistic work to It has improved vigilance and efficiency community engagement and internal departmental of the staff and built performance projects. Employees are encouraged capacity in the orchestra, which today to present new ideas and experiment teamwork has has a reputation for its open-minded- with novel approaches. Creativity is as ness, versatility, and ability to move much a management value as artistry. strengthened easily and gracefully between styles Rigor and discipline, as well as perfec- and periods. Musicians who feared tion and accuracy, are valued on stage the orchestra’s losing public support as a result of the and off. The environment requires emphasis on contemporary program- persistence. Innovation is not always ming now are proud of the orchestra’s successful, and there are risks finan- ability to be distinct identity as a leader and innova- cially and emotionally. open and tor in the field. transparent 24

➜➜The ultimate metric of innovation is the quality of artistic product. What happens on stage demonstrates the strength of the creative idea and its THE CONTINUING JOURNEY impact on the audience. It has all had an impact in the commu- Future Plans and nity as well, and with Dudamel’s arrival, ➜➜Alignment and communication Aspirations a new chapter of innovative community among artistic, board, and execu- engagement and accessibility is being tive leadership is critical in any Risk is inherent to innovation. While written. Just before his departure, environment, but particularly in one the Philharmonic proactively manages Salonen told the orchestra that when that values taking risks. the financial risk of its activities, the artistic and personal risks are harder to he was buying fish at the market, the ➜➜A board with a passion for music is quantify. Carefully monitoring audience vendor told him he had really liked a a driving force for innovation. piece he heard on the Green Umbrella reaction helps the organization assess series. “Just imagine,” says a musi- ➜➜Compelling institutional values and and adjust, but the Philharmonic is cian. “To me that really sums up the a sound business model are the struggling with how to define its artistic success he had bringing music to LA… necessary underpinnings of suc- risk tolerance in some quantifiable way. that you could go to the fish market cessful innovation. Measuring outcomes poses similar problems, and the orchestra is work- and talk about a concert with a person ➜➜Branding is important and must ing to develop a robust set of metrics selling fish.” be coordinated across the that will enable it to better evaluate organization. The Philharmonic is deservedly proud the impact of its programs. It is also of its accomplishments. Staff cite a ➜➜Constant planning and visioning, working on a framework for reward- number of useful lessons from their ongoing analysis of financial perfor- ing people across the organization experience: mance, and leadership succession for their contributions to the process planning keep the organization and for their successes in developing stable and healthy, enhancing the and implementing new ideas. One big If an organization truly capacity to innovate. ➜➜Collaborative processes enhance values innovation, then creative solutions. ➜➜If an organization truly values inno- novel ideas are not vation, then novel ideas are not confined only to the artistic work, confined only to the but rather sprout throughout the organization. A flourishing culture artistic work, but rather of innovation enhances organizational effectiveness and enriches sprout throughout the the work environment. ➜➜There are new audiences who want to learn new things. Creating and organization leading taste is possible. Making music intellectually and emotionally accessible—in appropriate and reinforcing spaces—builds loyalty and participation. Fearless Journeys: Innovation in Five American Orchestras Case Study: Los Angeles Philharmonic 25

Compelling institutional values and a challenge is building in time for reflection and visioning in an organization whose busy schedule focuses heavily sound business model are the necessary on execution. Like other orchestras, the Philharmonic also struggles with underpinnings of successful innovation the transactional nature of philanthropy and with the difficulty of developing and networking to understand the ben- cross-institutional partnerships. efits and challenges to the organization of deeper community engagement. These are means to an end, however, and the most intense talk at the The Philharmonic’s enviable privilege Philharmonic is about art, innovation, of celebrating the accomplishments the pride in the orchestra’s achieve- of its departing music director ments under Salonen, and the promise while simultaneously welcoming its of continuing success under Dudamel. new artistic leader shows just how The board talks about its “responsibil- ingrained the spirit of innovation is ity with Dudamel to really broaden the within the organization. One legacy is exposure of the institution to a much indisputable. Another is forging its way greater community.” Staff are already into being. It all seems quite natural at deeply engaged in detailed analysis the Philharmonic.

Los Angeles Philharmonic 26

s e r v i c e t o BEGINNINGS A Context for c i t i z e n s h i p : Innovation Life in Memphis moves in rhythm with the river. Like its ancient namesake b u i l d i n g on Africa’s Nile, Memphis is a strategic river city on the Mississippi—the largest city in the Mid-South and a artistically historically lively hub for markets, exchanges, travel, and distribution. City founders saw Memphis as the gateway to the rich agri-business of e n g a g i n g the delta, and during the 19th century, Memphis became home to King Cotton and the prosperous slave trade. By the community start of the Civil War, Memphis was split by its loyalties to the North and South. Grant’s Union Army claimed partnerships Memphis as its headquarters in 1862, and emancipation quickly took root. Between 1860 and 1870, the city’s African-American population quadru- pled. With the field workers came the Memphis Symphony Orchestra work songs of the fields, the gospel cries for mercy and justice, and the beginnings of America’s own music— blues, jazz, rock-n-roll, and soul.

It has been said that Memphis has been mentioned in more song lyrics than any other place on Earth. It is the city that inspired and influenced such musical legends as Robert Johnson, Elvis Presley, Johnny Cash, BB King, Aretha Franklin, Otis Redding, Isaac Hayes, and Al Green. It is the home of Beale Street, Sun Studios, Stax Records, and Graceland. The music of Memphis is indeed a national legacy. Nevertheless, the city has long faced problems of poverty, segregation, and racial tension. The nation’s exploding racial tensions led to the assassination

A Leading From Every Chair® participant takes the helm of the orchestra giving the downbeat of Beethoven’s Seventh Symphony Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 27

assure the MSO’s survival. Small audiences and poor earnings indicated a of Martin Luther King there in 1968, severe revenue generation problem. The MSO needed and poverty remains a constant for While the Cannon Center opening much of the local population. did create a flare of initial excitement, more than a new hall audience attrition during previous Against this cultural and artistic years had been heavy, and commu- to connect with its backdrop, the Memphis Symphony nity perceptions and attitudes were Orchestra (MSO) has been making forever changed. The MSO needed music for more than 50 years. The more than a new hall to connect with changing audience orchestra was founded in 1952 as the its changing audience—it needed to Memphis Sinfonietta under the musical be “of” Memphis—a city where racial —it needed to be “of” direction of Vincent de Frank. In 1960 struggles and achievements are cul- the Sinfonietta officially became the turally embedded, and where class Memphis MSO, and in 1963 a Ford Foundation boundaries have reinforced a his- grant enabled the orchestra to expand tory of segregation and division. But population that cares deeply about its season and triple its audience Memphis no longer cared about its music, but not the classical traditions base. When de Frank retired in 1983, orchestra. It was an issue of relevance, of Western Europe. The MSO found the orchestra created its first full-time and the MSO’s response to that chal- itself alone, without the core compe- core of 32 musicians. A year later Alan lenge changed the very core of the tencies needed to generate revenue Balter became music director of the organization. to pay its full-time orchestra over the MSO, serving until 1998, when David long term, in a struggle to deal with an Loebel assumed artistic leadership. aging and disintegrating audience base THE PATH TO INNOVATION and to engage a benignly indifferent At the time of Loebel’s arrival, the MSO community. was facing serious challenges: an Music and Civic inadequate concert hall and increas- Activism The board and senior management ingly scarce operating revenue. In Benign Neglect knew that reaching a more diverse 1996, Memphis closed the MSO’s public would require a change in the concert hall and began construc- In 2002, as the Memphis Symphony community’s perception of the MSO. tion of a new city-owned venue. The Orchestra celebrated its 50th anniver- At the same time, changing Memphis’ rebuilding phase was envisioned as a sary, organizational leaders began to perceptions would require a fundamen- two-year project, and during that time assess the orchestra’s future and its tal transformation in the organization. the MSO was expected to perform lasting relevance to greater Memphis. For years, the MSO had thought of in alternate, substandard facilities. Clearly the orchestra was in serious its role in the community as one of Unfortunately, the project extended trouble. For years the MSO had based providing community-related services, well beyond two years; it was actually its vision on the loyalty of a traditional such as family concerts, in-school seven years before the Cannon Center audience: white, educated, profes- programs, and special performances. for the Performing Arts opened its sional, and well-off. As the city became But although the MSO offered these doors. Those seven homeless years more and more racially diverse, the services in earnest to enrich the land- were dark and difficult for the MSO, orchestra was challenged to make scape of the city, it was essentially a and they produced serious and lasting meaningful connections with the larg- one-way street. The MSO did not know consequences. est demographic of its population—a how to recreate itself in the image of its city—to be of Memphis in a way By the time the MSO moved into the that truly engaged the community and Cannon Center in 2003, the audience made people care if the orchestra lived base had been decimated and the or died. organization’s financial capacity was severely compromised. In 2004, after eight years of annual operating deficits, immediate attention was necessary to 28

Eighth grade students at Soulsville Charter School perform as part of a side-by-side performance with Memphis Symphony Musicians

In the end the MSO leadership decided to confront the indifference of the Memphis community boldly and with a new sense of civic activism. It would no longer be a passive onlooker but an which partnerships had potential, and active stakeholder and participant in how best to engage the orchestra in the city’s future. Real change began in the Memphis community. He worked 2003 when Ryan Fleur became MSO at raising the MSO profile among civic president and CEO. and corporate leaders, government officials, and leaders of community- By rewriting a Memphis Tomorrow: Beginning a based organizations. Fleur surprised Community Conversation everyone on that visit. Instead of In 2001 a group of local business exec- asking for help from the city, he asked few lines of utives, led by the mayor of Memphis, the mayor how the orchestra could convened to address the city’s help him and the city of Memphis. cultural code, diverse needs. Together, they created From that moment, he changed the Memphis Tomorrow and set an agenda nature of the MSO’s cultural contract the MSO has for improving economic conditions and with the city by presenting himself as a quality of life in the city. The agenda different kind of leader, one with a new leveraged whole called for the city to address debilitat- vision for the orchestra and a unique ing socio-economic problems plaguing understanding of its role in Memphis so much of Southwest Tennessee; and the Mid-South. new organizational quality public education and services, The MSO Tomorrow: Bringing including services to at-risk youth; the Conversation Home capacities entrenched and widespread poverty; public safety; and childhood health. Ryan Fleur’s belief in community activ- and more superficial exchanges; and Members of Memphis Tomorrow con- ism was as unexpected and refreshing information flowing readily via sophis- sidered the music business integral to to the MSO as it was to civic leaders. ticated technological media, electronic the city’s economic development, and One of a new generation of leaders in learning communities, and social net- they invited ArtsMemphis, the local the field, he did not grow up profes- works. Could the MSO slow down, go United Arts Fund, to participate in sionally in the good old days when deeper, invigorate values of citizenship outlining a set of challenging and far- orchestras could be built by a few and culture, and bring renewed mean- reaching initiatives. generous patrons, when audiences ing to its art form by using it to engage who knew how to sit still and be quiet people in new ways? A thousand years In 2003 David Loebel took the MSO’s flocked to concerts, when music and before the first explorers arrived at the new president along on a visit to the instrumental education and were gen- site that would become Memphis, the mayor of Memphis. A lifelong pianist erally available to kids, when classical Chickasaw Indians were building the who had consciously chosen to follow music represented a pinnacle of cul- enormous mounds that still rest on his passion for the arts over a busi- tural entertainment, and when concert the bluffs above the city. What would ness career, Ryan Fleur was a tireless halls could be filled with almost any the orchestra build? What artifacts advocate for re-thinking the orchestra’s program. Instead, his leadership has would it leave? In a city whose history role in the community. Highly visible been shaped by a society that has is inextricably linked to the struggle to and proactive, Fleur concentrated on seen vastly different patterns of class learning how the MSO was perceived, and wealth distribution; widespread questioning of classical music’s relevance, especially to immigrant cultures that have their own classical forms; new concepts of time and space moving society toward shorter, faster, Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 29

improve human relations, Fleur’s social consciousness would send him and the orchestra on a journey to answer capacities. To get there, it took time, that question. and it took some help.

The first step was planning. For the The New Strategies Lab first time in its history, MSO stakeholders—through a cross-constituent In 2007, the MSO was selected to participate in the New Strategies Lab, a process that involved musicians, staff, outside the organization. In order to program offered as part of the Andrew and board members—began work on truly develop artistically engaging com- W. Mellon Foundation’s Orchestra a structured strategic plan. By the time munity partnerships—i.e., projects that Forum Program. The New Strategies the process was finished, cultural shifts grew organically from the orchestra’s Lab was designed to help orches- had begun within every organizational musical capacity—the orchestra would tras conceive, research, gestate, and constituency. Artistic excellence was need creative input from the artists implement innovative approaches to still at the center of the MSO’s ambi- themselves: musicians who would take their work. Through intensive pre-work tious future agenda—but with a twist. a leadership role in creating ideas, put- at home, an orchestra focused on The orchestra no longer saw artistic ting unique artistic shape around them, getting its innovation strategy ready achievement as an end in itself, but and interacting with community part- to implement: defining challenges rather as an enabler of the orchestra’s ners during the projects’ design phase. and opportunities, exploring strategic citizenship. The orchestra had always Waiting until the implementation phase responses, researching alternative considered itself to be in the busi- to bring musicians on board simply designs and impact, and prototyping ness of making music and delivering did not produce the kind of owner- strategies. Then the orchestra’s cross- it to the community—a transactional ship, vitality, and impact the orchestra constituent design team attended contract of sorts. Through its planning wanted. process, the MSO began to see itself a one-week planning retreat during as a service provider that could deploy Musicians initially viewed the entire which they worked on clarifying intent, its musical talents and expertise in a concept with a great deal of caution, creative direction, and strategy. The variety of ways—through artistically and engaging them was a slow and week allowed time for reflection, engaging community partnerships—to carefully managed process. Fleur interaction with teams from other meet a range of community needs. describes how a long series of incre- orchestras, and peer-to-peer learn- mental steps led to their support and ing that is not generally available at The board adopted the plan in late participation. The planning process home. Following the retreat orchestras 2005 and the new approach to com- provided the beginnings of a conversa- received additional consulting support munity partnerships seemed to be tion, and the organization followed up to facilitate implementation, helping working. Yet inside the MSO, leaders with years of trust-building by continu- them bring other stakeholders into were disappointed in the quality of the ally exceeding musicians’ expectations the process and build alignment and projects being designed, in the depth regarding communication and content. momentum. and reciprocity of the collaborations, The MSO nurtured participation by as The MSO used its participation in the and in the lack of energy and creativity many musicians as were interested New Strategies Lab to refine its idea that was being generated within and (and in as many aspects as possible) of developing artistically engaging in order to build ownership and satis- community partnerships. In an ideal faction. It also spent time developing partnership, the MSO would bring its musician leaders who would carry the process forward. According to Fleur, what has happened to the MSO’s internal culture is as significant as what has happened in the community. The two values are so inextricably linked that it is hard to separate them. By rewriting a few lines of cultural code, the MSO has leveraged whole new organizational 30

ies. Participants ultimately made a distinction between strategic partnerships—those in which partners simply exchange talents or resources—and partnerships that operate on a deeper, more rewarding and permanent level. artistic strengths to the table along- Successful partnerships would be chair, a FedEx corporate vice presi- side the unique capabilities of partner based on a profound alignment of dent for human resources, the CEO of organizations to design programs that core interests and values. Partners the Soulsville Charter School, and an would fulfill specific, jointly identified would have to know each other well— outside expert who had done work in community needs. In its preparatory strengths and weaknesses, assets, the area of community partnerships. work, the orchestra organized two needs, operating cultures, and defining During the retreat, the team worked full-day planning meetings. The first characteristics. They would have to together to outline specific parameters gathered a group of 20 musicians, understand commonalities and expec- of the two relationships they intended board members, and staff to consider tations. Finally, they would have to to implement once they returned to accomplishments and aspirations. In agree on how to measure success. Memphis. confronting its challenges, the orchestra asked itself two questions: If the Now much more enthusiastic about its MSO were to go out of business, other process, the MSO began researching Innovation in Action than the four percent of the population and identifying potential community The Orchestra as a that is generally aware of the orches- partners. It invited representatives of tra, would the other 96 percent care? four organizations to attend a second Civic Partner Why should somebody who doesn’t full-day meeting, during which the Leading from Every Chair® love (classical) music care whether the organizations discussed ways they (Working with FedEx) orchestra lives or dies? The answers might work together. Based on the were neither pretty nor comforting. synergies discovered in this explor- Discussions started with understand- atory session, two natural partners ing the company’s core values—speed, Humbled and armed with a new self- emerged: FedEx and the Soulsville integrity, ease of use, and commit- awareness, the group tackled the Charter School, a college-preparatory ment to the community—and moved question of how they might change the program that connects music with quickly into discussions of linkages situation. What was the history of inno- academics. between FedEx and the orchestra. vation in the orchestra? What would The company’s charities are important success look like and how would the By now, a core group of musicians to it, but the difficulty of narrowing a MSO know if and when it was suc- was deeply engaged. All musicians focus remained. When FedEx identi- cessful? What were the characteristics had been invited to give feedback fied its employee base as critically of the orchestra’s past relationship about the MSO’s participation in the important, the MSO knew it had found with the community? What were the New Strategies Lab. Ten musicians the basis for working together, since barriers and constraints to a new volunteered to be part of the planning the orchestra, too, was about people. approach? What was the real extent of group that would develop the project The orchestra already had an existing the MSO’s commitment to this work? further and lay the groundwork for the relationship with FedEx, but an even Shockingly, participants admitted that planning retreat. The retreat team itself greater asset was the openness and they could think of no innovation in the included two musicians, three staff enthusiasm of the company’s vice orchestra’s 50-year history. Further, members, the music director, the board president for human resources, whose they said that the orchestra had never eagerness, ingenuity, and imagination built a meaningful partnership of any Fleur believed would contribute to an kind. They had a long way to go. exceptional collaboration. A highly effective internal collaborator, she also Aided in its exploration by facilita- could talk about the relationship within tor Eric Booth, the team agreed it FedEx in a unique and powerful way. wanted to do something authentic and powerful. It wanted to push boundar- Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 31

As imagined by the New Strategies Lab team, the orchestra’s relationship grow, and a journey of collaboration with FedEx would focus on leadership began. Musicians provided insights development. Musicians (self-selected into how the symphony leads, com- from the orchestra), alongside curricu- municates, motivates and inspires in lum writers at FedEx, would design an its own environment, and together in-depth, interactive workshop aimed the organizations determined how to at engaging company executives and apply these principles in a corporate MSO musicians in exploring leadership environment. principles, including decision-making, teamwork, and risk-taking—through Out of this planning process arose ® music. FedEx would provide the spe- Leading from Every Chair , a day-long cific learning objectives and leadership seminar that enhances leadership expertise. MSO musicians would through experiential learning and provide the creativity and musical close study of the symphony orches- ® expertise to implement the learn- tra model. Leading from Every Chair ing through an artistically engaging Using music inspires executives and profession- experience. als to rediscover their own creativity, capacity for innovation, and dedication Using music as a vehicle to improve as a vehicle to excellence. The program guides teamwork and leadership effective- participants through music-based ness was a powerful idea both for to improve exercises aimed at strengthening key musicians and FedEx. To gain a better, leadership skills more informed understanding of the teamwork and including company, MSO musicians visited the FedEx headquarters to learn what employees do, how the business leadership operates, and how work gets done. What transpired on site presaged how effectiveness natural and reciprocal the relationship would prove to be. FedEx employees was a powerful were curious about the musicians and opted to spend most of the time learning about them—how the orchestra idea both for worked, how musicians knew their roles, how orchestra leaders were musicians and developed, how musicians communicate, and what needs to happen to FedEx bring a piece of music from programming to performance. As musicians took company employees behind the scenes, explaining how an orchestra communicates with its audiences to make them part of the artistic experience, an organic connection began to

A Leading From Every Chair® participant masters the recorder as he prepares to perform before an audience of his colleagues 32

opportunity came along. Soulsville frequently uses mentors to provide adult role models for its students. The New Strategies Lab team developed a mentorship project in which The experiment held many challenges MSO musicians would work with for both institutions; of particular Soulsville students on a weekly basis, concern was the need to assess decision-making, teamwork, risk- using the common language of music the level of readiness of the musi- taking, motivation, and non-verbal as an entry point to the mentoring cians who would serve as mentors. communication. Following the first pilot relationship. A musician who is paid well to teach workshop for marketing managers, one private lessons to children whose community partner said, “There was The framework for the pilot project, families have the resources to pay is a lot interesting to us that we didn’t which ran during the 2007–08 school not necessarily capable of being a realize in the corporate world—the year, provided for approximately successful mentor. Mentoring at-risk nuances of teamwork and leadership six MSO musicians to work with 60 young people requires an additional that we just take for granted.” eighth-grade orchestra students. level of temperament, awareness, and Musician mentors would join the understanding. Working at Soulsville Music Mentors (A Partnership orchestra once a week throughout also required musical adaptability with The Soulsville Charter the year, for a total of twenty sessions and sensitivity, good communication School) each. They also would participate in an skills, and a genuine sense of give- The Soulsville Charter School was orientation session with Soulsville staff and-take. Willis says, “When it’s a established in 2005. Its name is drawn as well as in two reflection/evaluation one-way street, that’s when you have from Soulsville USA, part of the cultural sessions—one at the mid-point of the trouble sustaining it.” Willis was not legacy of Memphis’s 1960s soul music program and one at the end. David interested in “musicians coming to the powerhouse, Stax Records. When Loebel volunteered to work closely ‘hood’ and teaching students Bach students enter Soulsville, they are usu- with the school’s artistic personnel to and Beethoven, trying to impress upon ally one or two grade levels behind. ensure that the school’s values and them how valuable and important the Soulsville aims to “catch them up,” the orchestra’s participation were symphony is so that the MSO can and it uses music as a hook. Students closely aligned. The eighth-grade build its audience base.” at Soulsville are expected to play a students would attend the orches- string or percussion instrument as an tra’s young people’s concert, and the The goal at Soulsville is not musical active member of the school orchestra. Stax Museum would host the entire perfection, at least not in the short The school’s focus on music is not an MSO family, enabling them to tour term. It’s about building relationships accident, says former CEO Marc Willis. the school and better understand its and trust. When trust is established “We’re soul people and string instru- philosophy. between mentor and mentee, artistic ments are scalable and no one gets hurt with them,” says Willis. “This is who we are: contemporary music, soul music in an orchestra setting. I wasn’t looking to dive into Mozart. We’re diving into Isaac Hayes. We’re diving into Shaft.”

The relationship between Soulsville and the MSO began soon after Fleur’s arrival at the orchestra so, as with FedEx, the seeds were already blos- soming when the New Strategies Lab

Memphis Symphony Orchestra violinist Jessica Munson speaks before a side-by- side performance with students from an eighth grade class at The Soulsville Charter School Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 33

development naturally takes place as the student becomes more and more had disastrous consequences. He interested in the professional life and has built the organization’s internal work of his or her mentor. Says Willis, capacity by nurturing the individual “Johnny now wants to see his friend capabilities of his management team. who comes to visit him once a week Chief Operating Officer Lisa Dixon fills and cares about him. He may not The Leadership Team a critical role in determining how well know anything about the music, but The motivated, aligned, and mutu- projects are coordinated. Fleur says, he wants to see his friend play. And ally supportive nature of the MSO “Lisa is a key success factor in this. I you can see [the kids] in the audience leadership team was fundamental to can think creatively. I have the vision. saying, ‘that’s my mentor right there.’” the orchestra’s ability to go in a new I have the ideas, but Lisa’s a wonder- The enthusiasm and responsibility are direction. An MSO community partner ful counterbalance. She’s wonderfully returned, as musicians know they are says, “I like to say that partnerships inclusive [and] she commands respect performing for their mentees. There is come from leaders who inspire their from musicians and staff. I can speak a personal connection that changes teams to make them. [MSO leaders] in circles and pontificate, but she can the nature of the musical exchange. communicated the vision and people take it and asks what does it mean and got inspired. This is a good idea and what are our next steps.” Developing Readiness: Key it had good people bringing it to life.” Enablers of Effective Community The active participation of the CEO, MSO Board Chair Dan Poag has Partnerships music director and board chair in set- played an essential role in raising the The conditions facing the MSO during ting goals and designing the New board’s awareness, commitment, and the 1990s were critical to shaping the Strategies Lab set a standard for the understanding of the new role the orchestra’s innovative behavior. Its entire organization. That Music Director orchestra hopes to fill in Memphis. He lack of historical integration into a city David Loebel sat alongside musicians is credited with providing constructive where racial segregation—or at least to discuss the organization’s future input during the design process that the memory of it—remains prevalent was particularly important. He exhib- helped guide strategy and avoid what contributed to the orchestra’s growing ited a level of commitment, personal could have been a disingenuous path. irrelevance as a cultural institution. The investment, flexibility, and community Poag believes deeply in his responsi- city’s economic structure and wide- consciousness that produced wide- bility to foster good board-musician spread poverty made the orchestra spread buy-in from the musicians. A relations. “I think musicians have to inaccessible to many. Although the board member says, “The music direc- feel like they’re part of the decision orchestra grew significantly in size and tor really has to sanction this. One of process, they’re part of the organiza- quality thanks to the Ford Foundation the ground rules in [the retreat] was tion and that we’re listening to them,” grant, that growth was not motivated that musicians were in charge. When says Poag. “By the same token, they or shaped by a vision of the orches- they said to the music director that have to listen to us. We have to be in tra’s role in the community. Together, they needed him to stand up and do constant dialogue.” Other board mem- these conditions created a financial this, he stood up. If you don’t have that bers say that his leadership has helped crisis that was strong motivation for kind of relationship it just won’t work.” lead to the “transformation”: thinking change and innovation. At the same of community engagement as a pillar time, a generational shift was occur- Fleur also has been a strong force of success in the organization. ring at the MSO, with young staff and and advocate for innovation since musicians bringing new perspectives arriving at the MSO. By all accounts Courageous Musicians and and feeling less bound to or inhibited he has led the organization with tire- Proactive Staff less resilience, managing difficult and by conventional practices. The new Taking a new approach to community unfamiliar situations that could have vision at the orchestra was born out of engagement—one that abandons a search for new pathways to artistic the concept of traditional “outreach” achievement, and a number of critical in favor of mutually fulfilling artistic enablers fostered a seismic shift within engagements—requires musicians the organization—with musicians leading the way. 34

to take unprecedented risks. One staff member describes the period of adjustment: “It’s very different for a musician to be preparing and participating in a program like Leading from Every Chair® than playing in a concert. The definition of their job has really changed and it called for some time for growth and time to work through.” Community partners say that musician leadership is the most important factor in the partnership’s success. “We need musicians who can walk that fine line out the support of the musicians, and they understood the requirements of and understand musicians and non- they have built strong alliances with successful engagement programs, musicians,” says one. “They need to them. Ceding leadership to musicians they were able to move the discus- be willing to get out of their comfort in designing community partnerships sions smoothly and rapidly, enabling zones…and be willing to receive feed- is an intentional and effective internal the pilot projects to occur during the back and make changes.” strategy. 2007–2008 season. When it came time to negotiate the 2008–2009 contract, The artistic, intellectual, educational, Union Collaboration the same leaders again worked to and social capital that musicians bring and Contract Changes ensure an open dialogue. Participation to this process cannot be underesti- To be successful the MSO knew it in the program was optional, and 26 mated. Without these contributions, needed cooperation from the musi- of the MSO’s 36 full-time musicians the quality of the programs would cians union, and the orchestra began opted into the new contract structure. undoubtedly suffer. Their participation talking to the union immediately fol- They were guaranteed a three-to-five adds creative dimension to the project, lowing the New Strategies Lab retreat. percent increase in pay over what gives it substance, and adds to the Together they drafted a side letter otherwise would have been a pay promise of sustainability. Musicians to the existing collective bargaining freeze. Although the orchestra focuses who participate in the new community agreement that permitted service con- rigorously on financial responsibil- initiatives now say that “there is this versions and allowed the orchestra to ity, leaders believed that investing in fantastic transit of currency between deploy musicians individually through- engagement activities by investing the musicians and the organization. out the community. Converting full in the people whose creative talents They’re getting great work from us, and rehearsal and concert services to indi- would determine their success was we end up feeling more valued.” vidual services is not a new concept in well worth the cost. Not only was it worth it, it was imperative as a means MSO staff are proactive in sharing the orchestra industry, but this flexibil- of signaling to the orchestra and to information and knowledge between ity is critical in allowing the orchestra to the community that the MSO was and among constituencies. What was manage its human resources in ways putting its money where its mouth once a culture of “spoon-feeding” that serve multiple purposes. That the was. Today a nine-member oversight information to the board has been MSO already guaranteed musicians committee comprised equally of musi- transformed into a deep trust that more services than it was using made cians and staff plus music director and allows staff and board to interpret data the solution a win-win for everyone. board members oversees the artistic and information together. Staff, most Having union representatives who also engagement activities of the orchestra, of whom are musically trained, also played in the orchestra was central to ensuring good communication, shared work to develop collegial relationships moving the process forward. Because values, and clear expectations. with MSO musicians. They know they cannot do their work effectively with- The widespread musician support for the new artistic engagement model is indicative of their passion and commitment. The MSO also is taking new Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 35

Left: A Leading From Every Chair® participant listens as Memphis Symphony Orchestra horn player Caroline Kinsey demonstrates a passage from Beethoven’s Seventh Symphony

Below: Memphis Symphony Orchestra never have worked if it had not been Timpanist Frank Shaffer interacts with for cross-constituent involvement. Now a Leading From Every Chair® participant onstage during the afternoon portion of the anything that is fundamental to the April 2008 workshop future of the orchestra involves inclusive cross-constituent teamwork and participation. While one staff member says, “We haven’t quite gotten there yet,” he adds, “we’re really trying to get everyone who’s involved on the same team.” Board members support the value of creating interaction between constituencies and say that designing community engagement activities is a natural team-builder. Musicians feel particularly empowered in the new environment, describing “a more open playing field,” and staff say inclusion is the key to success. “We have this communications task force in which we do lots of fun, morale-building activities,” says one administrator. “But that only takes you so far. It’s the other stuff where you’re actually rolling up your sleeves and working on real good things for the organization that steps toward creative collaborations are challenging.” The widespread within the organization. The contract approved for the 2009–2010 season Strategic Communication musician adds a capacity-building component Because so many constituents were that allows musicians to team up with involved in developing the MSO’s part- staff members to work on projects nership program, leaders recognized support for the that the organization currently does right away the need to develop formal not have the capacity to handle, such and informal structures to communi- new artistic as managing its Facebook page, sell- cate internally within the orchestra and ing tickets on commission, and other externally with community partners. engagement projects. Not everyone has the same communication needs at the same time, and Cross-constituent Participation model is the MSO team encouraged informal The decision to reframe the institution’s unstructured dialogue among con- service strategy was a perfect oppor- stituents at all times. It also provided indicative of their tunity to build inclusion into the fabric time for structured conversations to of the organization. Having cross-con- ask hard questions, deal with diffi- passion and stituent participation and consensus cult or challenging issues, and make throughout the strategic planning decisions that would move the work commitment process and the New Strategies Lab enabled the MSO to move forward more effectively with its community engagement efforts. Fleur believes that the partnership program would 36

cation to Isaac Hayes, and instead of forward. “I was constantly surprised,” doing it ourselves we recommended said a staff member. “We began with that the kids from Soulsville do it. communication. No one was left in the Soulsville got to play in front of a thou- dark from the onset. For the most part, sand people. We were the brokers. It’s we [now] share knowledge equally. We about building a better Memphis— had no communication when I started even if that doesn’t have an impact on here. We had to learn how to engage in the Symphony.” genuine dialogue.” the cross-constituent group frame its issues. Booth brought strategic think- Partnerships are helping the orchestra An Outside Perspective ing, an objective voice, knowledge of discover new audiences and patrons, Starting tough conversations and the industry, and a passionate inter- and they are doing so because they trudging through complex issues est in community engagement to the are based on authentic engagements involving change are difficult even MSO’s process. that take the orchestra’s most prized in the most effective organizations. assets and invest them in helping com- Objectivity becomes an issue, as munity partners address their own THREE STEPS FORWARD do power, anxiety, control, self- needs. Explained Fleur, “We’ve learned preservation, and the resistance to Impact and Learning how to have a community dialogue— that means a dialogue amongst Partnerships are The MSO’s work—which is still in ourselves as well. By dialogue I mean its incipient stages—has had signifi- how do we know these people, how do helping the orchestra cant impact on those it has touched. we question, how do we identify pat- Partnerships with the orchestra give terns, how are we genuinely coming members of other community orga- across as vulnerable? And when those discover new nizations new artistic and intellectual things happen, then the connections resources to help them in their work. take place. There was a point in time audiences and patrons, The result is an enhanced percep- in Princeton when our principal oboe tion of what the orchestra offers and player made that authentic connection an increased desire to seek it out. Of with the CEO of Soulsville. Once we and they are doing ® Leading from Every Chair a musician made that connection with the two of reports: “Every single person that has them, it didn’t matter what the partner- so because they are been a participant has come away ship was, because there was a level from that day feeling they have a rela- of trust and we were going to figure it based on authentic tionship to us and an understanding out and we were going to grow or fail about what we do that they never had together.” before that day. Subsequently, we’ve engagements seen them coming back to hear us. My Musicians say that the impact on letting go of a familiar way of life. The hope is also that when we reach more them has been transformative. Their MSO had help from two facilitators: and more organizations in Memphis enhanced role and responsibilities in Richard Evans, who supported the with this workshop, that more people the organization have shown them new strategic planning process, and Eric in Memphis will view the orchestra as ways to translate their talent into influ- Booth, who worked with the New not just a frivolous thing, that we’re ence within the organization and into Strategies Lab team. In beginning its really serving a need in the community meaningful impact outside it, giving preparation for the New Strategies Lab, and not just playing concerts.” them new skills and making them feel the MSO understood the limitations proud and important in ways they had Said a staff member, “I think the real and dangers of trying to manage such not imagined. Working with outsiders impact is developing relationships a large-scale process without help, has made musicians realize that “we between different segments and creat- and staff members say that Booth’s [are] quite good at different things.” ing a fabric. The regional Chamber of guidance proved invaluable in helping Commerce has a luncheon every year and it’s a big deal. Two years ago we played and that was nice. Last year we heard that they wanted to do a dedi- Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 37

only be successful in its community engagement activities if it understands and appreciates the One musician says, “We’re learning community’s underlying values and about our own skill sets. In terms of ➜➜Measuring impact is difficult but needs. It should be part of a larger pride in our work, it’s a positive ben- must be built into the process. movement to make the community efit. We feel proud of the work we’ve Partners should identify success better. done and proud of the organization.” measures at the outset. This enthusiasm has a direct effect on ➜➜Designing good partnerships and the staff. As one member of the staff creating a productive platform THE CONTINUING JOURNEY says, “The musicians have transformed means having the right people themselves to go out to the people involved on all sides. It takes time, Future Plans and and report back. Those musicians are effort, skill, patience, and genu- Aspirations so proud. Seeing their pride is seeing ine respect. It must be absolutely we’re succeeding.” reciprocal. Many at the MSO believe that the orchestra is in a race against time ➜➜Making partnerships work requires Most importantly, the organization is in the quest for relevance. While the trust, transparency, and effective benefiting. The MSO’s new focus has orchestra has not solved all its prob- communication. Nothing should been a powerful influence on inter- lems, there is genuine hope from be left to chance. Designated nal morale and behavior. The cultural leaders in the organization that the check-in points are critical, and the shift resulting from cross-constituent MSO is on the right track. Leading orchestra should have a structure work has created high levels of trust from Every Chair® can be custom- dedicated to resolving any issues between staff and musicians, and that ized and used elsewhere, and the that arise. trust has led to new alliances, more MSO has already implemented it with open communication, and the influx of ➜➜What happens in the partnerships another corporate partner. In time, new ideas. New leaders are emerging changes the status quo in the orga- the orchestra plans to develop alter- from unexpected places, and the organization. Success, satisfaction, nate curriculum tracks to expand the nization is discovering new ways of flexibility, and responsiveness spill program’s applicability. Work with defining success—definitions that are over into the organization’s daily broader, more interesting, and more life. compelling to both the community and New leaders are ➜➜Musicians can and do move effec- the orchestra. All this has led the MSO tively outside their comfort zone to change to its operations in order to emerging from when the motives are compelling improve its capacity to act. Focusing enough. Their efforts make a tre- on collaborative models and cross- mendous impact that should be unexpected places, departmental functions, the orchestra recognized by the organization. is aiming for integration rather than and the organization is traditional decision-making silos. ➜➜Board members can be especially useful to musicians in helping them Specific lessons learned by the MSO maneuver through the political and discovering new ways include: social dynamics of partnership in action. ➜➜Being perceived as “adding value” of defining success ➜➜The value of community part- to the community in innovative nerships is real. They promote ways is fundamental to making innovation and learning, and they the community more engaged. can be a healthy source of revenue. All communities are different. It is impossible to change the fundamental culture of the community, and the orchestra can 38

Memphis Symphony Musicians including Concertmaster Susanna Perry Gilmore (far right) and Leading From Every Chair® participants listen to directions from the podium as part of the April 2008 workshop

Money, of course, is a challenge. MSO leaders are convinced that as the current business model evolves, it will produce the necessary revenue. Partnerships are financially sustainable when they are artistically meaningful, community-oriented, and tied to a revenue stream. In other words, the MSO now operates on a “People- Service-Revenue” model: invest in the Recognizing and right people, deliver the right service, and revenue opportunities will become available. Today, this principle guides tremendous honesty within the organi- meeting real needs of all the organization’s decision-making. zation, but doing this hard work means Like most orchestras, the MSO must that partnerships will be more organic the community require withstand austere economic con- and rewarding. As Lisa Dixon sug- ditions. Unlike many orchestras, gests, “Look at the internal structure of however, the MSO does not believe sensitivity, self- your organization and really make sure that a traditional institutional formula— there is an interest and commitment defined by performing concerts, selling because the last thing you want to do awareness, and self- tickets, and raising money—meets is start down the path… and then back the community needs of 21st-century out. You’ve got to stay committed and knowledge Memphis. In addition, the orchestra see it through.” requires musician input, buy-in, own- Soulsville has grown, with 180 stu- Trying to align values with partner ership and feedback at every level dents benefiting each year on a weekly organizations means more than just of planning, and it insists that cross- basis. Building mutually beneficial getting acquainted. When organiza- constituent stakeholders inform all key partnerships remains the most impor- tions are tightly connected, change organizational decisions. The MSO tant item on the MSO agenda, and this in either one affects the other. Each believes that by working across con- takes time, research, and networking. organization has to learn how to live stituencies it has achieved far more It also takes outstanding leadership, and grow with the other. They need than the typical directives for revenue patience when encountering cultural to learn to share responsibility and generation and expense reduction to resistance, and a willingness to learn. authority—to depend on each other meet its financial challenges. Its new for successful implementation. They formula—engage artistically, satisfy The racial demographic of Memphis need to have an equal stake in the a community need, and link partner- continues as the most distinct chal- risk-taking. Institutional language and ships to a revenue source—will build lenge for the MSO. The orchestra culture create learning curves, and capacity and sustain the organization knows that reaching the disaffected the partners need to be vigilant about in coming years. African-American community is monitoring and nurturing the develop- critical if the orchestra is going to truly All this takes time, and managing in the ment of their own shared culture, with become “of Memphis.” Recognizing interim is a tremendous challenge for sufficient time for dialogue, reflection, and meeting real needs of the commu- the orchestra. Pushing too hard or too and evaluation. nity require sensitivity, self-awareness, fast creates fear and does not allow for and self-knowledge. The better the the constant checking in that is nec- orchestra knows itself, the better it will be able to make meaningful relationships in the community. This takes Fearless Journeys: Innovation in Five American Orchestras Case Study: Memphis Symphony Orchestra 39 essary when building new alliances. While the orchestra considers its work an investment in long-term health, to ultimate ability to devise a commu- an outsider it looks like an expense nity strategy that builds partnerships if the money doesn’t come in fast through artistic engagement. While enough. Connecting artistic engage- partnerships do not necessarily have ment activities to long-term benefits undertake a comprehensive board concerts or performances as an and determining how to hang in during engagement process—involving outcome, the artistic talents of musi- difficult economic times are two of the musicians, staff, and community cians are still the most critical factor in MSO’s greatest challenges. leaders—and will begin translating making them powerful and successful. learning into building partnerships with At the same time, the goal of the MSO The MSO continues to learn. It recently audiences. is to make partnerships an integral part appointed League of American of the orchestra’s core music-making, Orchestras Conducting Fellow Mei- The MSO is acutely aware of the inher- using them as the first step in an ongo- Ann Chen as music director beginning ent tension between its dedication ing journey that takes newcomers from with the 2010–11 season. A rising star to artistic achievement and its new acquaintance to engagement around who served as assistant conductor dedication to artistic citizenship. “We mutual goals, to appreciation and in Atlanta and Baltimore, Chen has a certainly [didn’t] want to turn into a participation in a variety of orchestra passion for working with young people bunch of do-gooders that happen to activities, including excellent concerts. and communities and is expected to be called a symphony but don’t utilize As everyone begins to understand how bring more innovative ideas to the our artistic aspects at all,” says one this works, tensions resolve into enthu- orchestra. The organization has cre- staff member. What could be the costs, siasm and constructive action. That ated a new musicians’ contract that many wondered, in the orchestra’s understanding, which tangibly builds enables creative new initiatives. It paradigm shift? Would community each and every day, is leading towards is developing musician leadership focus come at the expense of artistic a new organization in which artistic in a focused way through dynamic excellence? Dealing with these worries achievement and artistic citizenship musician-led projects. Soon it will head-on is critical to the orchestra’s are well balanced.

Leading From Every Chair® participants take a bow after performing their unique compositions. Each team is given a collection of instruments and are asked to create a new work in a short period of time. Matthias Kirschnereit and Markus Groh play 40Mozart’s “Concerto for Two hands” with Pacific Symphony in October 2009

Pacific Symphony

BEGINNINGS A Context for i l l u m i n a t i n g Innovation Orange County represents the new American metropolis. Not a city at m e a n i n g : all, it has no defined urban center but rather comprises a number of pioneering planned communities that intersect putting music with the more traditional downtown areas of Anaheim, Santa Ana, Orange, Huntington Beach, and Fullerton. Nor is Orange County suburban in in context the traditional sense. Decentralized, demographically and economically cosmopolitan, and increasingly inde- pendent from neighboring Los Angeles County, it reflects the expanding economic and cultural role of many emerging post-suburban communities in America, offering the employment, consumer, and cultural opportunities once associated only with large cities alongside the suburban lifestyle advantages of space, recreation, and first-rate education. Its story is the story of communities across the country. Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 41

In this fast-growing and rapidly diversifying community, residents of Orange County must adapt to a constantly changing environment. The sion of Elliot Goldenthal’s Fire Water majority are transplants—immigrants Paper: A Vietnam Oratorio, premiered from diverse backgrounds or business cially in a county with no downtown in 1995 with cellist Yo-Yo Ma. In bring- transfers who work in the County’s center, a highly diverse and dispersed ing together victims of war, veterans, burgeoning high-tech industry, one of population, and multiple recreation and community members to generate the ten fastest-growing in the world. alternatives? This was a logical ques- a dialogue around the performances, The County’s significant international tion, as several attempts by other St.Clair and the Symphony laid the flavor also attracts many leading sci- ensembles had already failed. In a groundwork for its later commitment entists. In recent years, the region’s relatively new community without a to contextualizing its programs in ways economic structure has changed tradition of artistic activity, would there that would offer multiple engagement significantly as immigrants and ethnic be enough interest and support to points for audiences perhaps unfamil- entrepreneurs have assumed an ever sustain its own orchestra? iar with the music. The adventurous greater role. programs also engaged the musi- The appointment of Carl St.Clair cians—most of whom combined their The rapid economic growth of Orange as music director in 1990 marked a orchestra work with other professional County also spurred expansion of turning point for the Symphony. The musical activity—and strengthened arts facilities and activities in the Texas-born St.Clair, a former student their identity as an ensemble. region. Founded in 1978 by volun- of Leonard Bernstein at Tanglewood teers who were determined to have who had served as an assistant While carving out the orchestra’s a permanent resident orchestra serv- conductor of the Boston Symphony artistic niche, St.Clair cultivated coming the County, Pacific Symphony Orchestra, brought a distinctive vision: munity ties by committing to an active consisted of freelance musicians who to create ambitious and imaginative role as educator. Despite—or perhaps performed in movie studios, universi- projects that would enable the orches- because of—the shrinking commit- ties, and regional orchestras. Led by tra to reinforce its American identity, ment to music education programs an entrepreneurial conductor named resonate with local audiences, yet in the area, a core group of parents Keith Clark, the ensemble’s programs, also gain national attention. Among and teachers was anxious to work strongly flavored with American com- his early successes was the commis- with him. Together they created the posers, found a following. In 1986 the Symphony’s award-winning Class Act orchestra became one of the resident What could a program, which pairs area elemen- companies at the new Orange County tary schools with individual Pacific Performing Arts Center, and the fol- musicians to work on a particular lowing year brought in Louis Spisto resident orchestra composer and theme. One of those as executive director. Spisto built a early volunteers who has continued professional staff, increased earned add, especially in to guide the program notes that these income, stabilized the Symphony’s activities have strengthened the musi- finances, introduced tenure for musi- a county with no cians’ sense of connection with area cians, and expanded the board. parents and families as well as their commitment to the orchestra. The Yet by this time the Orange County downtown center, Symphony has continued to expand Performing Arts Center was also its educational activities, which now host to a parade of visiting orches- a highly diverse tras sponsored by the Philharmonic Society of Orange County, one of and dispersed the largest classical music presenting organizations in the country. What could a resident orchestra add, espe- population, and multiple recreation alternatives? 42

Ed Zwick and James Newton Howard lead Q&A at 2009 ACF: Hollywood’s Golden Age

in the development of thematic pro- include three youth orchestras. Today, gramming and new concert formats Pacific Symphony makes an extraor- in musical organizations across the dinarily large commitment of nearly country. ten percent of its $17 million annual budget to education and community St.Clair and Horowitz closely collabo- programs. rated that same year to launch the first American Composers Festival (ACF), Innovation in Action: The With the arrival of John Forsyte as which has become the defining ele- American Composers Festival president in 1998, all the pieces were ment of the orchestra’s artistic profile. in place to launch the organization On a parallel track the leadership One of the country’s only orchestra- into its most ambitious stage of inno- pursued opportunities for different based festivals focusing on new vative growth. With plans for a new kinds of community engagement. They American repertoire, the ACF is a dedicated concert hall on the horizon were vitally aware of the challenges kind of curated exhibit that brings as part of the Performing Arts Center’s of making meaning of an art form that together all the Symphony’s driving expansion, the orchestra would need is unfamiliar to much of its commu- interests: It nurtures artistic creativity to be artistically ready for the spotlight nity and audience. In a region where and excellence. It reflects the orches- and to attract higher levels of support. cultural orientation is increasingly tra’s commitment to American music The board was ready to collaborate non-European and where Hispanic- and composers. It offers contextual with St.Clair and Forsyte toward the Americans and Asian-Americans programming designed to promote goal of deepening and broadening the constitute a large demographic, the cultural and musical literacy. And it orchestra’s reach by expanding the Symphony was challenged to make establishes critical cultural links and concert experience. traditional orchestral masterpieces partnerships with the community. resonate with its audience and to Carefully integrated within the season, make connections between Western the ACF engages audiences around THE PATH TO INNOVATION classical traditions and the musical ideas over time, gradually weaving A Contextual traditions of other cultures. It pushed and creating a context that enhances Conversation itself to create new experiences that their experience with music and art- reflect not only the changing ways artists, brings new awareness and Forsyte and St.Clair embraced the ists are thinking about music, but also understanding of issues, and deepens opportunities that thematic program- the growing integration of art forms engagement with the orchestra. ming offered to add entry points resulting from the ways people expe- Pacific Symphony has produced for audiences. But they knew early rience music. Most notable among the festival every year since 2000. on that, to create the kind of musi- these changes were new concert Ideas for the ACF can be culturally cal exploration they had in mind, the formats that allow artistic and educa- inspired, as in the orchestra’s 2004 Symphony needed another artistic tional cross-fertilization. festival, Tradewinds from China, which voice—a scholar who would add examined non-Western influences value to the creative mix by increas- on American music. They may be ing the organization’s capacity for chosen to celebrate a major American research and conceptual thinking. In musical figure, such as Unchartered the spring of 2000, historian Joseph Beauty: The Music of Lou Harrison. Horowitz joined the Symphony’s pro- They may highlight regional histori- gramming team as artistic advisor. A cal and cultural influences, such as teacher, consultant, and prolific author, The West: Music Inspired by the Horowitz has been a pioneering force American Frontier or Hollywood’s Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 43

and the Orange County High School of the Arts Chorus performed Chinese revolutionary songs.

Golden Age. Or they may be designed ➜➜Illuminations in Sound (2005) to explore specific subjects, as in the explored the influence of orchestra’s An American Odyssey, a Indonesian gamelan and featured season anchored by William Bolcom’s composers Colin McPhee, George Songs of Innocence and Experience Crumb, John Adams, and José and devoted to musical pluralism in Evangelista. Richard Stoltzman America in the late 20th century. played works by Adams and Steve Reich. Two rarely heard transcrip- The Symphony was Most importantly, the festivals aim to tions by Percy Grainger of piano be far-reaching in scope and time, works by Debussy and Ravel were challenged to make culturally diverse, musically rich, and performed alongside the original resolutely focused on answering ques- pieces. tions about the American musical and traditional orchestral cultural experience. ➜➜Uncharted Beauty (2006) honored the music of Lou Harrison. One masterpieces From 2004–2006, the Symphony took of the great American compos- a three-year look at non-Western influ- ers of the 20th century, Harrison is resonate with its ences on American music. recognized as a pioneer in the use of alternate tunings, world music ➜➜Tradewinds from China (2004) influences, and new instruments. audience and to make highlighted works by Chen Yi, The festival included a variety of Zhou Long, Bright Sheng, and Joan intimate chamber programs plus a connections between Huang in the course of sampling large-scale concert. It also featured the historic contributions of a gen- film footage from Eva Soltes’ docu- Western classical eration of American composers mentary, Lou Harrison: A World of from China whose life experiences Music. in both the East and the West have traditions and the This three-year focus generated made them advocates of cultural visible changes in Pacific Symphony’s exchange. Raised in urban homes relationship with non-Western com- musical traditions of influenced by the West, they were munities. Through its own forced to the countryside during Chinese-American League other cultures the Cultural Revolution, where and through ties forged they became immersed in folk and with Chinese media, the traditional customs they might not orchestra became more otherwise have learned. Studying composition in the U.S. and Europe, they forged a stylistic synthesis that merges Chinese and Western musical techniques, instruments, and aesthetics. Yo-Yo Ma—who believes that transnational influences and cultural interaction are core components of a creative process—performed a new cello concerto by Chen Yi. Min Xiao-Fen played the music of Thelonious Monk on her pipa, a children’s chorus sang Chinese folk songs, 44

familiar to this public. While no formal measurements have been taken, leaders have noticed a marked increase in subtle but important distinction—the the proportion of non-Western audi- difference between programs that ence members. are loosely and sometimes artificially constructed based on common style, One of the Symphony’s most suc- genre, or subject matter and those cessful festivals was Los Sonidos Contextual materials included special that are made to advance a deeper de México (2007), which celebrated program notes and festival publica- artistic or cultural conversation. The the remarkable range and variety of tions, discussions with musicians orchestra also assumes a responsibil- Mexican classical music, much of and composers, a dedicated website ity to contribute to the evolution of which is rarely performed in Mexico and participants’ blog, and a spe- orchestral music because music, like or elsewhere. The festival sought cial book of essays. The Symphony communities and cultures, is dynamic. to document the scope of Mexico’s coordinated festival promotion with As one musician says, “I think it is venerable musical history (spanning Orange County’s Latino community, really important that art be viewed pre-Hispanic to present day), explore and worked with local television and as a living, breathing thing.” For this recent and contemporary Mexican radio stations to develop in-depth reason, the Symphony is committed works, and demonstrate the richness profiles of the festival. Latinos across to “art-in-the-making,” actively sup- and diversity of both. The festival generations attended the festival. One porting the work of living composers included two dozen compositions over community leader reported, “This and experimenting with cross-disci- the course of six concerts, including event gave our people a sense of plinary hybrid projects that stretch the Caribbean Airs, a commissioned work pride….Some people didn’t know that definition of “concert” and obliterate by Daniel Catán, as well as works Mexico had a classical music tradition. disciplinary boundaries. This marriage by Silvestre Revueltas and Ana Lara. And to see world-class performers of interests—deepening understand- A three-hour multi-media interplay appearing there was just a wonderful ing of music through contextual tracked music and visual art from pre- experience.” The festival was an even presentation, engaging the com- Hispanic times to the present. greater revelation for non-Hispanics munity to explore issues and ideas, and celebrating the American musical Pacific Symphony developed Los who gained understanding of the vast heritage—is the philosophical impetus Sonidos de México in collaboration richness of Mexican culture. behind the institutional thinking at the with Gregorio Luke, director of the Defining Identity: How Cultural Symphony. Museum of Latin American Art in Long Context Informs Artistic Vision Beach; Leonora Saavedra, associate The orchestra’s programming impera- professor of music at UC Riverside; Pacific Symphony operates on the tive, therefore, is not simply to be and composer Daniel Catán. belief that people make connections thematically based, but rather to to ideas and concepts that provoke, be innovative, concept-driven, and move, and inspire them and that context-based, regardless of reper- are relevant to their daily lives. It’s a toire and regardless of whether the orchestra is programming a festival or a one-time event. “How does this relate to our community today?” is the question most often asked by staff when planning a festival or event. They believe that constant dialogue about culture and context produces more powerful programming decisions. Even

Ballet Folklorico dancers at ACF 2007: Los Sonidos de México Fearless Journeys: Innovation in Five American Orchestras Pacific Symphony plays Case Study: Pacific Symphony Holst’s “The Planets” 45 in honor of NASA’s 50th anniversary

Other ideas are more personal. In response to the anxieties facing people today, St.Clair wanted to use Tchaikovsky’s Pathétique Symphony to examine elements of the composer’s personal journey. He suggested using when programming a piece solely for to help audiences make connections a theatrical approach to illuminate specific musical reasons, the team between a composer’s impulses, influ- Tchaikovsky’s psychological land- considers and discusses the need ences, and intentions and the music scape near the end of his life. What for contextualizing the piece for an they are hearing; to build understand- resulted was a semi-biographical, intended audience. It is an approach ing, appreciation, and intellectual dramatic performance employing an that is neither formulaic nor prescrip- capacity in audiences and staff; to actor, stage lighting and visual images. tive. When there is good reason to promote dialogue around issues and A Symphony board member of Syrian position work contextually, it becomes ideas; and to link the orchestra’s origin wanted to perform the music of a high priority. What is important is work with the personal lives of its his own culture as a means of creat- that an examination of the possibilities audiences. ing an Arab-American dialogue. The informs decisions. result: Arabian Nights, a partnership Some programs evolve from historical with the Syrian National Orchestra that “Everything we’re doing aims to events that resonate in the commu- included a program of works by Syrian enhance appreciation, understand- nity, while others relate to newsworthy composers performed by instrumen- ing and respect for the art form,” events, such as the 50th anniversary talists using traditional Middle Eastern says St.Clair. “We’re trying to not only of NASA or the 50th anniversary of instruments, and anchored by Rimsky- create a concert that has artistic value the Hungarian Revolution. They might Korsakov’s Scheherazade. but we’re trying to contextualize it so arise out of a partnership opportunity, that the entire experience is one that as did the American-Russian Festival has a uniqueness, an educational that marked the opening of the new component, a certain festivity about Concert Hall. Collaborating with it so that it’s not your typical night the Orange County Performing Arts out with a partner, date, or spouse.” Center, Valery Gergiev and the Kirov The result is a season of extraor- Orchestra/Opera, pianist Alexander dinary depth—organized around a Toradze and members of his piano centerpiece of festival concerts—with studio, the Symphony explored jazz multiple points of entry for the audi- connections between Russian and ence. Ideas and musical content American music, including the signifi- are illuminated over time through cance of jazz as a symbol of freedom concerts, non-musical performance in the former Soviet Union. events, live commentary, essays, seminars and symposia, multi-media presentations and enhancements, lectures, exhibits, and other activities—all designed and coordinated to trace the cultural evolution of music and ideas;

Carl St.Clair speaks to audience after “Tchaikovsky’s Pathetique,” the second of three 2009–10 Music Unwound concerts 46

our traditions, something even more interesting can come from it.”

Artistic vision and outstanding per- An idea is right for Pacific Symphony formance are first priorities here, as if it satisfies the artistic appetite of the This approach requires a deep aware- at other orchestras. But while Pacific orchestra; offers significant opportuni- ness of and respect for the heritage of Symphony routinely performs pro- ties for collaboration and partnership; other cultures. Among the orchestra’s grams with traditional repertoire, it can be fully realized only by creating communities are some that are com- rarely does so without at least some a contextual tapestry woven from posed, to a large degree, of Korean, engagement from the stage, through a variety of formats; provides cul- Vietnamese, or Mexican immigrants. electronic media, or in the lobby. The tural connections to the community; Being proactive in responding to com- success of an early interactive Sunday increases cultural and musical literacy; munity cultural orientations requires afternoon series devoted to single expands audience engagement and the orchestra staff to be open, flexible, masterworks, first deconstructed and satisfaction; and helps shape the and creative. It also means being in then performed, laid the groundwork orchestra’s commitment to American constant conversation with the com- for audience engagement practices music. The concept must also be munity, building relationships and that became the second hallmark broad and rich enough to accom- trust, and taking risks. The entire orga- of the Symphony’s contextual work. modate multiple programs that can nization is committed to the process. Eventually, St.Clair incorporated this inspire both individual and collective As Forsyte explains, “There is a highly format into the orchestra’s regular meaning. sophisticated world of classical art series. Those programs now are that exists within many different cul- among the most popular. tures,” he says, “that manifests itself They want their in ways that are quite different from St.Clair and Forsyte recognize the how symphony orchestras are used inherent temptation to put works audiences to come to navigating. People treasure their together on a program simply because own heritage and their own traditions they meet a thematic requirement; away saying, “I’ve within their heritage. At times, Pacific they made this mistake in early pro- Symphony has fallen into a trap of grammatic efforts. Their experience imposing the historic greatness of in contextual design now enables been changed by this classical music on a culture that has a them to consciously work to avoid different set of values, [but] when we this pitfall, carefully and strategically experience” integrate their cultural greatness with choosing works that illuminate one another within the context of a funda-

Carl St.Clair mental idea. Forsyte acknowledges that they have not always been successful, but they continue to learn and improve the process.

In its work, Pacific Symphony is guided by five core institutional beliefs:

➜➜As a result of new delivery channels for musical content, public tastes are more varied than they used to be. Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 47 Symphony horn player Russell Dicey demonstrates the French Horn with Jacki Sellers demonstrating the Wagner Tuba at “Alpine Symphony,” the first of three 2009– 10 Music Unwound concerts, sponsored by the Mellon Foundation

and partnership opportunities. The relative inexperience of the audience (many of whom are newcomers to classical music) liberates the orchestra from the sometimes confining expectations of more historically stable and and to as diverse a population as homogenous communities. The rapid possible? It’s often humbling to real- growth and transient nature of the ize how few people are connected to region suggest the need for institu- orchestral music, but these thoughts tional anchors that contribute to the motivate me on a daily basis.” social fabric of the community. These conditions challenge, encourage and St.Clair relishes his role in managing empower the Symphony to push the the complexities of the Symphony’s envelope, taking big risks in hopes of programming process. Highly con- People relate better to art that ➜➜ big rewards. fident, with strong musical values reflects their background and cur- and convictions, he sometimes takes rent living environment. A number of enablers and suc- the lead in developing contextual ➜➜Performance and apprecia- cess factors have helped Pacific ideas. At other times he acts as an tion of the standard orchestral Symphony take advantage of the con- editor or arbiter, seeking to refine canon can be enriched through ditions that create fertile ground for and strengthen the ideas proposed contextualization. experimentation: by others in the organization. St.Clair says, “I have sought to create an ➜➜New composers should have Committed and Inspired Leadership atmosphere of participation and to opportunities to present their work The strong philosophical and tempera- encourage multiple viewpoints. It’s not in thoughtful ways that ensure mental partnership between St.Clair that I am passive or simply ‘tolerate’ greater receptivity. and Forsyte is the driving force behind participation. I have intentionally tried ➜➜Presenting American music to the Symphony’s innovative work. Both to ensure that there is an atmosphere American people—in all their diver- have an abiding faith in the power of of total involvement. We are a family sity—builds a cultural landscape music to change lives, and they rejoice and a team. In the end, however, there rooted in our indigenous context. in bringing the community together to also has to be someone who has the celebrate the diversity of the art form. final responsibility, and in our case that Developing Readiness: Key Forsyte says, “I don’t believe I have is the music director.” Enablers of Program Innovation approached my career as a business A strong leadership team enthusiasti- Pacific Symphony leaders say that person who happens to love sym- cally takes responsibility for bringing the orchestra’s relatively short insti- phony orchestra music but rather as a the Symphony’s diverse community tutional history and its location in the passionate advocate for the art form. together to celebrate and explore the shadow of Los Angeles free it from What could I do to bring this orchestral art form. They want their audiences ingrained industry expectations and music to as many people as possible to come away saying, “I’ve been traditions. Unlike many orchestras that changed by this experience,” but have to struggle with the legacies of they are equally committed to being their environment, the Symphony has changed themselves by the discov- an easier time breaking out. Because eries and learning that come out of Orange County is home to many their engagement with new material, start-up companies rich in creativity unfamiliar cultures, and non-traditional and intellectual capacity, innovation is standard practice. The cultural vitality and diversity of the community offer a rich source of knowledge, material, “Each48 and every time we put on a thematic concert we try to do something extraordinary. We do not always succeed, but the Symphony’s values are clearly excellence and innovation”

partnerships. Respect for a myriad of enable staff to pursue a myriad of orchestra operations, plays a criti- art forms, and deep commitment to projects that would be difficult in other cal leadership role, bringing ideas to audiences, inform and motivate their circumstances. fruition by nurturing and enabling the leadership actions. strong personalities of her colleagues. Forsyte says that his own leader- She says, “I am like a mom here. It’s a A desire to break away from ingrained ship journey has taught him “how central role.” industry practice and to think dif- difficult it is to be successful in this ferently about what constitutes area and how many obstacles there Core Artistic Commitment meaningful musical interchange char- are—perceptions, old biases toward Pacific Symphony’s definition of acterizes the Symphony’s leadership classical music, and prejudices that excellence is always evolving and at all levels—from music director and can alienate classical music from the expanding. Making concert experi- president to musicians and staff to rest of the world.” St.Clair and his ences personal for audiences and board members. St.Clair’s knowl- single-minded beliefs and passion paying vigilant attention to the new edge, convictions, and artistic values were critical to convincing others to ways artists are thinking about, creat- set the tone for the organization. come along. Board members help by ing, and sharing art are considered His open-minded curiosity creates a being outspoken about making the essential to artistic integrity. Everyone sense of adventure for the organiza- orchestra relevant to the community, in the organization accepts that it is tion, allowing it to say, “Let’s do it.” by offering financial support, and by not just a great performance that will The enthusiasm and commitment generating programming ideas. Eileen bring audiences back, but also a great of musicians are critical to success. Jeanette, vice president of artistic and experience. One staff member says, Their openness to learning new rep- “Each and every time we put on a ertoire, their support for diversity in thematic concert we try to do some- programming, and their creative ideas thing extraordinary. We do not always succeed, but the Symphony’s values are clearly excellence and innovation.” A musician credits the music direc- Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 49

Symphony Orchestra’s War Room. “Having a group of experts at the table can be very useful, but it can also create confusion about who exactly is making the artistic decisions in the institution,” he says. In the case Naturally, things do not always go of Pacific Symphony, final decisions smoothly. According to Forsyte, are made by the music director, but Jeanette has “saved the day” many tor with helping musicians “let go” of only after vetting opportunities and times, keeping the process moving certain expectations, allowing them to possibilities with the team. “I have to forward despite threats of break- “run” with new possibilities and share figure out what is the right balance of down and disagreement. She is the the stage with generosity and enthusi- all these different issues and ensure “connector/implementer” whose asm. “A symphony orchestra is used that the audiences are having a really knowledge of all areas of the orchestra to being the center of attention on positive experience through the entire as well as her understanding of the a stage so if there is something else trajectory of a season,” says St.Clair. personalities involved enable her to drawing the audience’s attention, you intervene effectively. She uses her role feel like your artistry is being pushed Once the team agrees on an idea, as peacemaker to manage the egos a little bit to the side. There is some it begins working with a basic tem- and thought processes of strong- of that stuff that has to be worked plate—a main subscription program minded individuals, and her function is through. It takes a willingness to let go for the full orchestra, a chamber both articulated and understood within of some expectations. When that hap- music program, and other concerts the orchestra. “I have to use different pens, the orchestra is able to play at a and activities designed to infuse the styles for different people,” she says. really high level and do it with an esprit festival with life. This is not a linear “Sometimes Joe [Horowitz] thinks I get de corps—and that makes the artistic process. The entire organization is in his way, but he respects me and we outcomes more successful.” engaged simultaneously. Horowitz have a really good relationship. John is researching, writing, and putting [Forsyte] knows I fix things and that if Team Process shape to the original idea. Ideas about he asks me to do something it will get The development of an effective team programs are flying. Partnerships are done. Carl listens to me because we process has been a critical element in being developed, and community are a bit of soul mates when it comes producing the Symphony’s festivals engagement activities designed with to the musical experience.” Forsyte and seasons of unusual complexity. appropriate constituencies and stake- credits Jeanette and her team with The ACF team comprises the music holders. Will there be commissioned being “meticulous on execution,” a director, the president, the artistic works? How will the festival spill critical skill when it comes to translat- advisor, and the vice president of over into the orchestra’s education ing all the big ideas into action. artistic and orchestra operations; program? Should there be DVDs and composers, other scholars, board CD-ROMS, exhibits, lectures, films, a Musician Dedication and Versatility members, musicians, and staff also dedicated website? What should be in “One of the biggest things that we provide valuable input. Planning the dedicated program guide? What have to overcome in our identity is begins 18–24 months in advance, and are the costs? Are there compromises this concept that we’re not a real the team meets regularly throughout to be made? How will the core festival symphony orchestra – that we’re a both the planning and the implemen- ideas be expanded, “contextualized” freelance or pick-up orchestra,” notes tation phase. The team’s first priority and marketed? How will money be St.Clair. “We are America’s largest is to select an idea that is “relevant raised? There is work for everyone in budgeted ‘per service orchestra,’ to modern people and to their con- the organization. but our musicians receive tenure temporary lives.” Integrating multiple and many have long histories with perspectives is the most important Pacific Symphony. They are commit- consideration at this stage, and ted to molding a unique American Forsyte likens the process to what he imagines happens in the Atlanta 50

audiences just like he would in Orange County. European audiences were surprised and delighted.”

The complexity and variety of the Symphony’s programs require musi- orchestra—one that is highly flexible, cians to be both facile and efficient in cooperation are among the most versatile, collegial, and responsive performing in a broad range of musi- important contributions made by to the changing cultural landscape. cal styles. Performing new music and musicians to producing first-rate con- Composers and guest artists routinely music from other cultures means they textual programming. Musicians at comment on their willingness to adapt must be comfortable with diverse Pacific Symphony also must enjoy a and focus on new techniques. They’re notation and instrumental require- “good stretch.” As one musician says, very dedicated to the well being and ments. They must be sympathetic “people are very objective and willing to the artistic standards of Pacific to the creative process, having the to try anything.” Another adds that Symphony.” patience, tolerance, and genuine musicians are “very open-minded” and interest to work side-by-side with that they “put everything on their plate St.Clair and Forsyte have consciously composers as equal collaborators. with sincerity.” sought ways to enhance the musi- They must be able to make quick cians’ identification with the orchestra. adjustments, and capable of finding Musicians suggest that their multi- The education programs and a a common language with artists who faceted careers—including experience chamber music series have given may be very differently trained than in academia and film studios—con- musicians more personal interac- they are. They must be good com- tribute to their flexibility and openness tion with audiences as well as more municators who are able to interact to experimentation. In describing income. In 2005–06, St.Clair and the with audiences, participate in a wide the Symphony’s experience in com- Symphony made their debut appear- range of education programs, and help missioning and performing Elliot ance in Walt Disney Concert Hall in the artistic team refine programmatic Goldenthal’s Vietnam Oratorio, one Los Angeles to perform at the League concepts. musician says, “The last movement of American Orchestras’ 2006 National was not composed, was not printed Conference. They also embarked on Musicians say that the Symphony’s until the dress rehearsal, because their first European tour, performing approach has been “nothing but Hollywood composers are used to in nine cities, including Vienna. “We good” for them. One musician—who composing while they work. So we took a big risk,” concedes Forsyte. says he is a “standard repertoire kind actually had to deal with that, and we “Until then we had not played outside of guy”—adds that musicians sup- survived the experience. There are Palm Desert.” But the performances port the programming strategy and challenges, but I think people kind of received enthusiastic reviews, and that they “are loyal to it now more welcome that and enjoy the freshness created what Forsyte terms “a galva- than ever.” Good will, advocacy and of the approach.” nizing moment” for the musicians. “It affirmed that they could deliver on the international stage just before the new hall opened in Orange County. Their sense of cohesion, their credibility with skeptics in the community, and their self-confidence all soared. It was not coincidental that the repertoire included a very broad range of the Symphony’s styles and Carl addressed

Pacific Symphony performs on its first European tour in 2006 Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 51

Thinking

Knowledge-based Resources conceptually— and Partnerships Thinking conceptually—not only for not only for individual concerts, but also across entire seasons and even multiple individual seasons—is new territory for many orchestras. Designing a complex and concerts, but interwoven set of interactions that together complete an entire experi- projects. Some bring opposing view- ence requires information, research, also across entire points, which, Forsyte says, “has also and intellectual capacity. Pacific strengthened our thinking.” Symphony has put into place sig- seasons and nificant knowledge infrastructure to Pacific Symphony manifests a genuine support its work. Outside experts even multiple reciprocity with the community that provide critical historical and schol- historically has been uncharacteristic arly input to the organization’s own of orchestras. St.Clair knows it’s not a musical knowledge base. Structured seasons—is new one-way street. “If you build it will they relationships with culturally spe- come? Not necessarily,” he points cific communities in Orange County territory for many out. “Knowledge partnerships” are enhance the organization’s capac- critical, and building long lasting rela- ity to understand and work in other orchestras tionships with groups and institutions traditions. A core group of citizen is an ongoing task that the orchestra bloggers writes about the Symphony tional knowledge-builder. While the and its board take very seriously. regularly, and the orchestra is explor- orchestra is busy creating context for Through its Chinese American League ing ways to use new media resources the public (with Horowitz’s scholarly and Hispanic Advisory Committee, and behaviors to enhance community input), Horowitz also provides con- for example, the Symphony has built connections and to expand the orga- text for the orchestra’s own process, audiences that have helped guide nization’s knowledge about itself and helping the organization understand programming decisions. The orches- its community. The Symphony was and learn from its experience. Unlike tra learns from its cultural partners, recently rewarded a multi-year grant museums, American orchestras “typi- and what it learns influences how it from the Andrew W. Mellon Foundation cally don’t have scholars on staff,” conceives, produces, markets, and to expand its work on engagement says Horowitz. “And unlike museums evaluates its festivals. During Los practices, and has hired a director of orchestras don’t typically produce dis- Sonidos de México, its 2007 American audience engagement. tinguished publications. There is often Composers Festival, the Symphony’s a lack of intellectual capacity that can Hispanic Advisory Committee coun- Partnering with scholars over the be crippling with regard to innovation.” seled that they establish connections long term is unusual for orchestras, At Pacific Symphony they are working to youth education programs in the but the relationship with Horowitz to change that. One musician cred- largely Hispanic community of Santa has provided continuity, institutional its Horowitz with expanding his own Ana, advertise in Spanish, and con- memory, and momentum for the musical horizons, saying, “Joe [comes] sider programming concerts that Symphony. He serves as an institu- up with all kinds of great ideas, and juxtapose traditional classical music I find that I learn a lot about some with composers from Mexico. All of kinds of music that I never would have these recommendations were imple- known about, like the Chinese music mented successfully. The Symphony we did. For me it’s a learning experi- was the centerpiece of a national ence….I really enjoy [it].” In addition to Horowitz, the orchestra brings in other experts as needed for individual 52

tional partners work with the orchestra on planning festival programs from the inception; now they are exploring how festivals and contextual the Arts has recognized the artistic concerts might provide humanities value of the American Composers content to middle schools and high Festival by repeatedly awarding schools. In recent years, members of Pacific Symphony grants equiva- the Symphony’s three resident youth lent to those of orchestras of much ensembles have become involved in larger budget sizes. The James Irvine festival planning. news story by the Spanish television Foundation and American Express network Univision underscoring the have both made multi-year invest- opportunity for Hispanic community THREE STEPS FORWARD ments in these programmatic efforts. members to engage with symphony Pacific Symphony soon will conduct orchestras like Pacific. Impact and Learning its first quantitative measure of the success and impact of its program- Partnerships with universities also The Symphony has been doing ming approach. With a grant from the provide resources to support festival contextual-based programming since Andrew W. Mellon Foundation, the programming. In 2008, Chapman 2000, and the approach has become orchestra will study its audience’s University presented a screening of part of its institutional DNA. “If pro- intrinsic response to contextual pro- the film The Plough that Broke the gramming comes out of nowhere grams and engagement activities. Plains with live orchestral perfor- people are unprepared and it can be mance as part of The West: Music baffling and confusing,” says one The ten years of the American Inspired by the American Frontier. The Symphony staff member. Another Composers Festival have gener- orchestra’s 2010 festival, The Greatest adds, “This work is a source of ated major attention to and support Generation, included partnerships with institutional pride. It is not simply a for living American composers, both Cal State Fullerton and the Orange mechanical process where you look emerging and established. National County High School of the Arts. The at a calendar and insert things from and international publications like the festival focused on how the generation the traditional repertoire that you think Wall Street Journal, Christian Science of the 1930s and 1940s responded people might like to hear. This is more Monitor, and Financial Times of artistically and socially to the historical of a mission.” London have written extensive stories challenges of its time. Legendary doc- about the Festival and the Symphony. The orchestra has grown its classical umentarian and New York University St.Clair has continued to commission and pops offerings by nearly 40% over professor George Stoney participated works from composers featured at the past decade, presenting as many in the festival, contributing film mate- the festivals, and has been invited to as 100 programs each season. Pacific rial, artistic work influenced by the bring works and programs that he has Symphony has balanced its budget Depression, and professional perspec- developed in Orange County to other for nearly 20 years, but has seen a tives. In addition, young filmmakers at American orchestras. In recent years, 42% increase in single ticket sales the Orange County High School of the he has expanded his efforts by taking over the last two years; many of these Arts, mentored by Stoney, have cre- these concepts abroad to Germany, new listeners signed on for thematic ated original documentaries related to France and Australia. programs. Audience surveys and other the themes of the festival. measurements indicate that the pro- The Symphony also has invested in gramming and engagement strategies sequential educational programs in are working. At the recent Tchaikovsky the public schools, and its educa- Portrait program, over 89% indicated that the format change and audience interaction have enhanced their appreciation and commitment to classical music. The National Endowment for Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 53

cess was due to strong partnerships facilitated by a Festival Advisory Committee composed of business, artistic, education, religious, political and community leaders and headed by the mayor of Santa Ana. Many Southeast Asian, Russian and Syrian In the meantime, orchestra stakehold- Hispanic families attended all the con- audiences. Perhaps one of the most ers have observed a growing impact certs and participated in post-concert important benefits of the work has on the orchestra’s relationship with discussions with the artists. More been its ability to break down social the community. At the recent ACF pro- than 18,000 people participated in barriers and confront stereotypes gram entitled The Greatest Generation, the Festival’s artistic and educational using music as common ground for veterans of war were invited to attend activities over the two-week period. cultural dialogue and interaction. As the concert gratis. Many wore their The Advisory Committee has con- the result of a partnership with the uniforms and greeted patrons when tinued to build ties with the Hispanic Syrian National Orchestra, hundreds they entered the hall. Veteran sup- community; one member regularly of Arab-Americans purchased tickets port groups were invited by the brings 50 to 100 people to Symphony and many stayed for a post-concert Symphony to ask for donations in the concerts, including those that have no reception, informing the Symphony’s concert hall lobby. During the con- Hispanic theme or artists. staff that they felt honored and wel- cert, photo images of Orange County comed by this event. For many, it was veterans from World War II were Today, Pacific Symphony’s identity their first symphonic experience, and projected above the orchestra. One is inextricably linked with its dedica- staff member recalled “the incredible tion to contextual programming, and Never underestimate amount of emotion in that building.” the orchestra serves as a touchstone for audiences from diverse ethnic The Los Sonidos de México festival and socio-economic backgrounds. the power of the right attracted many new audience mem- It has now offered programs serving bers from Los Angeles, as well as a Armenian, Chinese, Korean, Mexican, idea to unify an artistic large contingent from local Hispanic communities. Much of the suc- and social experience

The Symphony expanded its cultural horizons in 2009 when it was joined for a concert by members of the Syrian National Orchestra 54

territory, has helped develop shared values across constituencies and a new sense of identity. Musicians are energized and have developed new technical competencies. Staff have become more multi-dimensional and they admitted trepidation in venturing collaborative. They are more adept at into the concert hall. identifying opportunities for cultural Still there is much work to be done. connections and more comfortable Take risks. Although some traditional audiences about pursuing new relationships in have found the journey invigorat- the community. Funders are receptive ing, others remain frustrated that the to the Symphony’s unique conceptual All contextual Symphony does not offer a steady diet approach, providing new resources to of traditional programming. “There are support its efforts. Maintaining these programs are definitely people complaining about community connections, however, the fact that we’re talking during a requires constant vigilance and pri- not equally concert,” acknowledges Forsyte. “And oritization. The orchestra has added there’s frequently commentary from new directors of both community successful, and music critics who debate the merits of engagement and audience engage- the audience engagement practices.” ment, to furnish much-needed support Yet if the audience hasn’t been com- in determining the optimum types of some do not pletely transformed, Forsyte believes activity and levels of investment going that the Symphony’s approach is forward. succeed at all. starting to pay off. The audience is Some of the lessons learned by Pacific more diverse and more trusting. “I am Symphony include: Learn from your seeing an audience that looks really different that it did ten years ago,” he ➜➜Start by making sure that the mistakes; don’t says. “There’s no question.” orchestra has the right team in place—one that is knowledgeable, Pacific Symphony’s experience in brings diverse perspectives to the be ashamed. contextual programming has had sig- process, and is capable of bold nificant impact on the organization by interaction. building new capacities and transform- Don’t give up. ing it into a learning organization. The experience has deepened knowledge of music across genres and cultures, and it has taught the orchestra how to draw musical inspiration from unexpected sources. Learning that public tastes are more varied than they once were gives the organization courage and reinforces its urge to innovate. Working together, often in unfamiliar

An Alphorn is demonstrated at the “Alpine Symphony” Music Unwound concert in 2009 Fearless Journeys: Innovation in Five American Orchestras Case Study: Pacific Symphony 55

➜➜Trust the audience’s willingness to learn. People are innately curious, ➜➜Engage the Music Director in evalu- and they want to “get it.” ating content to ensure the highest ➜➜Don’t worry if your traditional audi- possible artistic results. ence doesn’t always respond. While ➜➜Design a decision-making process orchestras absolutely treasure their that builds consensus and enthusi- loyal patrons, sometimes it is not asm throughout the organization. possible to excite all segments of million—“34 cities in search of a one’s audience. And think about all ➜➜Leverage internal knowledge and downtown”—where traffic congestion the new people an orchestra can outside expertise. Be honest about breeds a stubborn reluctance to travel. touch. one’s capabilities and limitations. It must find ways to develop ongoing Cover the orchestra’s weaknesses ➜➜Be proactive about setting and relationships with audiences beyond and remain open to learning at all managing expectations. single events—not only relationships times. between the Symphony and its various ➜➜Resist the easy solutions. Always THE CONTINUING JOURNEY cultural communities, but also among be clear about why one is doing Future Plans and the cultural communities themselves. something. Don’t choose an idea The rich ethnic diversity of the region or put pieces together on a pro- Aspirations is an asset for the Symphony, provid- gram just because they are catchy ing an endless supply of interesting Pacific Symphony operates in a rapidly or because they look right. Do it material and meaningful engagement growing and diverse community where because it reflects and advances opportunities. Yet understanding and innovation is a way of life and where your mission. learning from these communities—not classical music does not have deep to mention developing their loyalty— ➜➜Never underestimate the power of roots. When the Symphony began its is a formidable task and one Pacific the right idea to unify an artistic own journey toward innovation, its Symphony is really just beginning. and social experience. Don’t be too leaders knew one thing: new path- There are language barriers, different heavy-handed. Balance edification ways were needed…new language… traditions of interaction, and unfa- with pure musical joy. new synergies. The imperative to build miliar networks for spreading news value for the Symphony by facilitat- ➜➜Take risks. All contextual pro- and information. Listening becomes a ing entry, creating social and cultural grams are not equally successful, refined art. connections, and illuminating meaning and some do not succeed at all. through a variety of lenses was the Learn from your mistakes; don’t be driving force behind the orchestra’s The rich ethnic ashamed. Don’t give up. commitment to contextualizing music. ➜➜Understand your environment. A decade of successful practice diversity of the region Building institutional relevance demonstrates the sustainability of the through contextual programming approach. It certainly has proven right is an asset for the starts with understanding the com- for this organization in this time and position, needs, and aspirations of place. the community as a whole and of Symphony, providing the individual communities within it. Creating contextual programming poses many challenges—geograph- ➜➜Build on what others are doing. an endless supply of ical, social, cultural, psychological, Learn about existing community and financial. As Pacific Symphony efforts and interface with them moves deeper into this uncharted ter- interesting material and whenever appropriate. Collaborate. ritory, it realizes that the community Make friends wherever you can. engagement challenges are huge. meaningful engagement Be aggressive and proactive about The Symphony must find ways to this. serve a large geographic area with opportunities a total population of nearly three 56

BEGINNINGS A Context for Innovation

The history of sibling rivalry between Minneapolis and Saint Paul goes to boldly go: back a long way. The saying goes that Minneapolis is a champagne town and Saint Paul is “a shot and a beer.” Indeed, Saint Paul began as “Pig’s c r e a t i n g a Eye,” a lively fur trading post that sold whiskey to neighboring Fort Snelling, while Minneapolis was developed n e w a r t i s t i c by Yankee capitalists as a planned community focused on industrial development. According to legend, the two cities arrested each other’s leadership census takers in 1890 to ensure that one city did not outpace the other. The University of Minnesota model has two campuses—one in each city. There are two orchestras: the Minnesota Orchestra and The Saint Paul Chamber Orchestra (SPCO). In 1915 Saint Paul built its stunning cathedral. Not to be outdone, Minneapolis added its own basilica in 1926. While the years have created mutual interests that have brought the Twin Cities closer together, they are still distinct in many ways. Saint Paul retains its village-like sensibility and a dedication to reclaiming its historic buildings. The landscape of Minneapolis is dotted with gregarious new architecture like Frank Gehry’s Weisman Art Museum and Jean Nouvel’s Guthrie Theater. The Saint Paul Chamber Orchestra As a center for education, medicine, and industry, the Twin Cities offer a rich cultural life, including three major museums, forty professional theatres, three Broadway houses, and numerous galleries—in addition to the orchestras and other music organizations. A long history of philanthropy, generous pri-

Nicholas McGegan Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 57

vate and corporate foundations, and a commitment to culture and individual creativity make the region extremely Radiothon led by Minnesota Public friendly to artists. The Twin Cities have Radio, and balanced budgets—would long been a magnet for individual art- The SPCO has a history of renowned position the SPCO for major artistic, ists who come seeking an affordable artistic collaborators. Founding Music cultural, and organizational change. and comfortable place to live and Director Leopold Sipe (1959–71) was When Bruce Coppock arrived as make their work. At the same time, followed by Dennis Russell Davies President in 2000, he would have a all this activity produces an incredibly (1972–78) and Pinchas Zukerman new charge. competitive market relative to the pop- (1980–87). When Zukerman left, ulation. In the Twin Cities, for example, Managing Director Deborah Borda The SPCO is a chamber orchestra there are twice as many orchestra con- made the strategic decision to engage and, like its home city, it is smaller in cert tickets for sale per capita than in an Artistic Commission of three lead- scale than its sibling in Minneapolis. any other U.S. city. ers who would share artistic leadership It embodies the refinement, elegance, of the orchestra. Their reputations, and charm of Saint Paul’s historic The SPCO was founded in 1959 on she believed, would maintain the level streets and neighborhoods and the three core values: artistic excellence, of artistic recognition the orchestra scrappy ingenuity and determination accessibility through performances needed despite the loss of Zukerman. of its frontier history. It is not surpris- in multiple community venues, and From 1988–92 Christopher Hogwood ing that the SPCO’s journey toward innovation in the performance of the served as director of music, Hugh innovation led it to look inward—not repertoire not performed by symphony Wolff as principal conductor, and outward toward shining edifices and orchestras. Its early years brought John Adams as creative chair. A brave bold architectural statements, but significant growth artistically, but the experiment, it did not work for a variety rather toward fundamental changes in orchestra lacked the concomitant of reasons, not the least of which was the organization’s culture, psychology, financial structure to support its ambi- the lack of clarity regarding decision- and core principles of artistic identity. tion. Goals of increasing budgets making, a lack of authority vested in At the same time, tradition runs deep and programming, building a concert the leadership team, and a lack of con- in Saint Paul, and the idea of funda- hall, and attracting star soloists were tinuity after Borda’s departure in 1989. mental change challenged the city’s set and achieved, but at a high cost In addition, the Artistic Commission conservative roots. SPCO board mem- that included financial crises, inter- was a response to a perceptual bers from both cities stimulated the nal conflicts, and division within the problem, rather than the outgrowth organization to think in new ways. board. Defining success was difficult of a larger vision for the SPCO, and for the organization as there were no it was therefore not owned by the viable industry benchmarks or busi- key stakeholders in the organization. ness metrics for chamber orchestras, In this context and amid a growing forcing the SPCO to revert to metrics financial crisis, the SPCO returned to more applicable to full-sized symphony the traditional model of a single music orchestras. Defining its own market director, appointing Hugh Wolff to the and reconciling financial health with post in 1992. He served until 2000, a commitment to the unique artistic and was followed by Andreas Delfs values of a chamber orchestra posed (2001–2004). serious challenges for the organization. Perhaps even more important was the In 1992 Brent Assink became presi- challenge of distinguishing itself in the dent of the SPCO, and he found only market in the country with two the orchestra on the brink of death. full-time orchestras. Assink and key board leaders set out to repair an organization that was seriously broken, and the institution- building that took place over the next five years—including deficit elimina- tion, board-building, a galvanizing 58

THE PATH TO INNOVATION A New Leadership Team An Ensemble of When Bruce Coppock became SPCO Leaders president and managing director in 1999, he found the orchestra reason- Identity Crisis ably healthy financially, with six years A 1970s poster that once hung in the see something even more dangerous of balanced budgets and no accu- men’s room at the SPCO celebrated than a lack of money: the most pre- mulated debt. In 2000, the orchestra “Minnesota’s Other Great Orchestra.” cipitous five-year audience decline in completed a $20 million endowment Certainly living in the shadow of the the industry, a frail artistic identity, the campaign led by then Chairman John older and larger Minnesota Orchestra lack of a robust artistic plan, an aging Huss, a community banker and very did not help the SPCO. While its orchestra and, at best, merely compe- active and generous philanthropist, unique artistic role as the country’s tent performances. who also is credited for developing only full-time chamber orchestra a culture of 100 percent board finan- should have helped it establish Competence was not enough. The cial participation in the organization. itself with clarity, energy, and force, SPCO board leadership wanted to Together, the endowment and the the opposite was true. Instead, in go to the next level—to leap from emerging responsibility from within the everything except its repertoire, the being well-established nationally to board provided additional income to orchestra thought and acted like its being pre-eminent internationally. As the orchestra and laid the groundwork larger colleagues around the country. it began its search for a new president for future planning. Andreas Delfs As Coppock says, “In terms of its and managing director, the organiza- joined the orchestra as music director structure, in terms of its attitudes, in tion was very specific: it was looking in mid-2000, and Lowell Noteboom, a terms of its labor contracts, in terms for someone who would embody the prominent Minneapolis-based attorney of its artistic leadership, in terms of its orchestra’s institutional vision and (who also chaired the SPCO’s 2000– artistic sensibility, in terms of its hiring intent rather than imposing them. It 2002 planning committee) was elected practices…in every dimension of its was looking for a leader who would chairman in 2001. behavior [the SPCO] didn’t differentiate take the organization on a journey itself at all.” to fulfill its urge for self-definition—a Coppock—who would lead the orches- leader who would shape the SPCO’s tra for nine years—brought a strong In an industry that typically rushes to identity from the inside out, building a combination of musical knowledge and categorization, the SPCO just didn’t unique artistic platform and a vibrant executive management experience to belong. It was not a chamber music culture that would be the SPCO’s the SPCO. A cellist and co-founder of organization—though certainly it per- alone. the Boston Chamber Music Society, he formed chamber music—and it was had the musical chops and passion for not a symphony orchestra. Yet defin- the chamber orchestra and chamber ing the orchestra according to what music repertoire to win the confidence it was not hardly raised it beyond the of musicians. His management experi- self-deprecating second-class citizen- ence, including positions at the Saint ship reflected in the poster’s language. Louis Symphony, Carnegie Hall, and As the new millennium approached, the League of American Orchestras orchestra leaders were able to look earned him the trust of the board. beyond the increasingly healthy finan- Known as a renegade who was never cial results produced under Assink and comfortable with the status quo, he seemed the perfect fit for an orchestra seeking to re-imagine itself. The SPCO got the energy and leadership it was looking for—and more. Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 59

The Mellon Orchestra Forum: Nurturing the Pioneer Spirit Coppock spent much of his first year Competence was not on a listening tour of the organization. In early 2000, the Andrew W. Mellon Foundation invited the SPCO to apply enough. The SPCO for a grant through its national program for symphony orchestras, which Board leadership wanted aimed to help orchestras develop more robust (and unique) artistic iden- to go to the next level— tities. What Coppock learned from his conversations formed the basis to leap from being well- of the orchestra’s first position paper to the Foundation, and in the spring the SPCO was selected as one of 15 established nationally orchestras to receive funding. Along with receiving substantial financial sup- to being pre-eminent port over ten years, the orchestra also would participate in Mellon’s Orchestra internationally. Forum, a multi-faceted learning program designed to help orchestras develop and sustain innovative organizational practices that would enable them realize their artistic aspirations. The Forum, says Coppock, provided important leadership training as well as an understanding of organizational systems and culture that helped the orchestra as it moved through a complex and non-linear process to redefine itself.

Strategic Planning and Collective Bargaining: Strange Bedfellows? In late 2000, with new leadership in place and the Mellon grant in hand, the SPCO began what was to be an 18-month strategic planning process, guided by a multi-constituent task force chaired by Noteboom. The task force sought broad input from musicians, staff, board, and members of the community. Two outside consultants brought additional expertise, structure, and insight to the process: Ronnie Brooks, director of the Institute for Renewing Community Leadership, and 60

Chamber Orchestra?” How would improving artistic quality help create Comments were a sustainable place for the SPCO in the community and the larger music honest, direct, and world? Coppock credits the work of Jim Collins, author of Built to Last sometimes harsh, but and From Good to Great, with helping establish the conceptual framework for they were invaluable the emerging institutional vision. ney, Susan Martin, came away from the process believing that they did There was an enduring commitment not need an attorney for subsequent in crafting next steps. among all involved in the planning pro- negotiations. cess to work together, and the group Developing trust took established specific ground rules, The strategic plan was adopted by the including active listening, patience, board in 2002, with a new vision for the focusing on problems rather than SPCO “to provide innovative discovery time. The progress individuals, and tackling difficult, and distinctive experience through often uncomfortable issues. With the the brilliant performance and vigorous was occasionally goal of developing trust and support- advocacy of the chamber orchestra ing honest conversations, the group and chamber music repertoire.” The rough, but steady. gathered anonymous written feedback plan defined the orchestra’s artistic after its sessions to unearth conflict- profile as “what we play, with whom we Tom Morris, then executive director of ing viewpoints and unspoken views or play, where we play and how we play.” The Cleveland Orchestra. Orchestra concerns. The comments were honest, leaders relied on Brooks’s grassroots direct, and sometimes harsh, but Although the SPCO had been unsuc- inclusion skills and Morris’s conceptual they were invaluable in crafting next cessful in its first attempt at linking thinking and framing skills to create steps. Developing trust took time. The its plan to the collective bargaining an intentional clash of viewpoints that progress was occasionally rough, but process, it immediately began laying would shape and inform the planning steady. the groundwork for the future. As a first process. step, the orchestra formed a Venues The collaborative planning process Task Force charged with creating a The process—which included 75 was interrupted by labor negotiations long-term plan to meet the SPCO’s meetings—was carefully designed in early 2002. While the planning group facility needs: new performance loca- and expertly managed to create space had hoped that the process would tions, acoustical needs in existing for breakthrough thinking and vision- inform negotiations and allow the venues, the historically vexing prob- ing into the distant future, while at SPCO to make contractual changes lem of rehearsal space, and the twin the same time considering specific that would enable its effective imple- problems of appropriate space to build constituent needs and positions. The mentation, it was not to be. Musicians organizational cohesiveness and to strategic planning group engaged in simply were not ready. The result was introduce new programming. The task vigorous and, at times, contentious a new two-year contract and a com- force concluded that a multiple-venue debate, all the while working collab- mitment to try a new approach the approach was an essential strategy for oratively to unearth common ground next time around—one that would be the SPCO to differentiate itself. This critical to rethink the orchestra’s artistic less fractious and more attuned to ended—at least at the strategic and profile, artistic leadership model, orga- institutional goals. Musicians, upon philosophical level—the age-old ques- nizational culture, and facilities. The the recommendation of their attor- tion of whether the orchestra should group kept coming back to the role of perform all of its concerts in one cen- the SPCO as the only full-time cham- trally located venue. ber orchestra in the country. What would it take, they imagined, to truly live up to that role? What would it take to be widely recognized as “America’s Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 61

Simultaneously, the orchestra was entering another contract renewal plan. Planning and visioning—and the process. The change in language was contractual structure to enable them— critical as it signified to the orchestra a were becoming inextricably linked collaborative rather than a confronta- in the SPCO psyche and culture. By tional approach. It also suggested an managing the two processes simulta- ongoing and long-term process aimed neously and by consciously creating at producing purposeful actions and industry affected the SPCO as well, experience and learning around the at building cohesiveness within the and the contract renewal team found important intersection of planning and organization as opposed to bargaining it difficult to separate this external implementation, the SPCO took incre- or negotiation. This time, the contract issue (and its payroll implications) from mental and inter-related steps toward renewal process—facilitated by Paul the need to move forward with the its goal of establishing a new—and Boulian, an experienced corporate ambitious agenda articulated in the fundamentally compatible—artistic organizational strategist and thinker, strategic plan. In the end, the contract identity and business model. and Fred Zenone, a retired cellist of ratification affirmed the orchestra’s By 2006, much of the SPCO’s 2002 the National Symphony Orchestra most fundamental building block for plan had been achieved or had been and former chair of the International the future: removing significant respon- made irrelevant. It was time to update Conference of Symphony and Opera sibility from the music director and the plan, and the SPCO embarked Musicians, and without attorneys transferring it to musicians, including on a six-month inclusive process on either side—did succeed in link- hiring and firing, auditions, and other that involved numerous task forces ing the musicians’ contract with the non-podium responsibilities of the and used the new artistic leadership organizational plan. It was not easy. music director. At the very core was the controversial structure to ensure musician involve- issue of artistic identity and the SPCO Ratification of the multi-year contract ment. Once again, however, there was musicians’ role in crafting it. Despite gave the SPCO some breathing room, dissention within the organization as rigorous attempts to ensure clarity and and it set the stage for ongoing dis- factions within the orchestra argued build ownership throughout the con- cussions of practical implementation. over what the changes in the busi- tract renewal process, the four-year From 2004–2006 a Business Model ness model would mean for them and contract ratified in early 2003 passed Task Force and a Pricing Task Force— whether their new roles were appro- by only a narrow margin. Deteriorating both cross-constituent—worked to priate to artistic decision-making. In economic conditions throughout the flesh out the vision of the strategic Fall 2006, the SPCO presented the plan—including significant changes in musicians’ responsibilities for artistic matters—to the orchestra for approval. The initial vote by musicians agreed to accept the plan “to the extent it was limited by the labor agreement.” This qualified endorsement—which never arose as an issue during the planning process—was rejected by the president and managing director and the board chair, and musicians were asked to vote the plan up or down. Unanimously, the musicians voted in favor of the plan. Strategic planning and contract renewal were now

SPCO Flautist Alicia McQuerrey 62

In early 2003, however, appropriate space became available in the building where the SPCO had its offices, and linked—in theory if not yet in organiza- the owner—enthralled with the idea tional practice. of creating an SPCO Center (dubbed “Barry’s Barn” internally)—supported In late 2006, at the suggestion of the vision with a combination of phi- musicians, the orchestra held four lanthropy and modest rent. Even so, facilitated multi-constituent meetings Barry’s Barn was a tough sell when to frame the issues for the upcom- the SPCO was looking at a 20 per- ing contract renewal process. A new cent reduction in expenses due to contract was approved in 2007. worsening financial conditions. After The contract included a number of the project was fully designed and ground-breaking changes, including a costed out, there was inadequate time new media agreement and numerous for normal fundraising; in remarkable artistically-based changes to rehearsal testament to their engagement, 23 and scheduling practices to better suit board members signed personal guar- the artistic needs of individual pro- antees of $100,000 each to secure a grams. Acknowledging the discomfort bank loan for the Center. All this was relationship between thoughtful stra- of musicians with some personnel accomplished in just one week, and in tegic planning and the ability of the issues, it also returned to management summer 2003, the SPCO committed to board to move quickly was critical to the full authority for musician demo- the project. Construction began in the building the case for [SPCO Center]. tions and dismissals, hiring and firing, fall, and the new SPCO Center opened Absent the plan, this never would have and eliminated binding peer review by the following year, giving the SPCO a happened.” musicians of those decisions. much stronger organizational platform from which to design its programming Innovation in Action: Barry’s Barn and raise annual and endowment The Artistic Leadership Model Some in the organization were disap- funds. In the end, the orchestra was The SPCO’s artistic leadership model pointed when the SPCO chose to able to raise funds for Barry’s Barn is based on five principles: embrace a multiple-venue strategy, from new sources without having to ruling out a central concert hall and divert precious operating resources, ➜➜Musicians should be central to the control, efficiency, and cohesive- and it repaid its loan fully one year the orchestra’s artistic vision and ness it would offer. Without a central early. profile. facility, it was difficult to imagine If charged with greater respon- The SPCO Center is just one example ➜➜ how the orchestra could succeed in sibility, musicians will rise to the of how the organization was chang- building the kind of interactive organi- occasion. ing and how well its plan was working. zational culture its plans demanded. Rather than shelving the project as too ➜➜A collaborative artistic leadership Barry Kempton—then vice president controversial or difficult during tough model will have a positive effect and general manager—suggested an economic times (and in the midst on artistic quality and musician job approach that some British orchestras of concessionary contract renewal satisfaction. were taking: a center for everything discussions), the orchestra was able except full chamber orchestra perfor- ➜➜A chamber orchestra is unique to move forward simultaneously on mances. Feasibility planning, however, and different from a symphony several fronts. Coppock says, “The indicated that costs for such a project orchestra. would range from $18–$45 million ➜➜No music director has the artistic (excluding land acquisition), and given strength to cover the vast repertoire the economic climate, the project the chamber orchestra and audi- seemed doomed. ence demand.

The essence of the model is the transfer of significant (though not all) artistic decision-making authority to musicians, vesting them with control Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 63

any given season: programming musician-led concerts that provide a broad platform for individual musicians to take responsibility for a performance; providing sufficient rehearsal time of Europe, the Vienna Philharmonic, in response to program complexity and Carnegie Hall’s Perspectives and increased expectations; focusing programs, the SPCO model creates on core SPCO repertoire, including a way for the orchestra to collaborate Baroque, Classical repertoire, smaller with exceptional artists who act as works, and reductions of the Romantic concert leaders. Artistic partners are in period, early 20th century master- residence for three to four weeks annu- pieces, and contemporary works; ally. Instrumentalists generally serve demonstrating a commitment to new for three years and conductors for work through festivals, commissioning, six. Artistic Partners design their own and novel concert experiences; and programs (with final approval of the fulfilling the orchestra’s commitment to SPCO), but they are constrained from SPCO Violinist Nina Tso-Ning Fan chamber music. engaging in broader artistic issues, except when giving feedback in perfor- over their artistic future and respon- Musicians do not, however, have the mance-issue cases. sibility for continued improvements only voice in determining artistic mat- in the SPCO’s artistic quality. Says ters. They share this responsibility with The SPCO selects its Artistic Partners one musician, “We together pick the management. The SPCO makes its based on some combination of a conductors. We together pick the solo- artistic decisions through two formal history of artistic success with the ists. We together decide the fate for committees composed of three musi- orchestra, their passion for the cham- the organization in many ways. When cians and two staff members each. ber orchestra repertoire, their creative the organization does anything of The Artistic Vision Committee is gravity, there are musicians involved responsible for programming, selection “We together pick in it. We are not behind this giant wall of visiting artists and artistic partners, while the other guys are taking care of tours, and recording activities. The the conductors. We everything.” Artistic Personnel Committee oversees and manages the audition process, The Role of Musicians musician tenure reviews, leaves of together pick the Musicians now have a robust, pow- absence, seating and rotation, and erful, and central voice in what the other personnel matters. The commit- soloists. We together orchestra plays (programming), with tees are designed as a collaboration whom it plays (soloists, conductors, between staff and musicians, and decide the fate for and artistic partners), where it plays impasses are resolved by a “super (venue), and how it plays (quality). In majority vote,” forcing two musicians the organization in this way, musicians strategically take to join with staff or one staff member to the lead in establishing the SPCO’s agree with three musicians in order to artistic profile and in defining its artistic arrive at a decision. many ways.” life. Together with management, musi- Artistic Partners cians balance a number of strategies in Instead of a music director, the SPCO engages a rotating group of Artistic Partners. Similar to the leadership models of the Academy of St. Martin in the Fields, the Chamber Orchestra 64

rapport with SPCO musicians, and their range of professional expertise. The SPCO is disciplined, but flexible, in its selection process, leaving room for the unimagined and the unexpected while keeping in mind Developing Readiness: the orchestra’s artistic ambitions. The Key Enablers of Change SPCO’s original four Artistic Partners, the SPCO access to a pool of art- A variety of conditions created an who were appointed in 2004, included ists that would be unavailable in any opportunity for the SPCO to re-imagine conductor Nicholas McGegan, violinist long-term traditional leadership capac- itself. First of all, the organization Joshua Bell, oboist Douglas Boyd, and ity. Collectively, the SPCO’s Artistic wanted to change, though it didn’t composer Stephen Prutsman. Roberto Partners are actually in residence know at the time just what that would Abbado joined the orchestra in 2005 more weeks during the year than a mean. The fact that the SPCO is and pianist Pierre-Laurent Aimard in traditional music director would be. a chamber orchestra allowed the 2006. Current partners include con- The system also gives Artistic Partners organization a maneuverability that ductors Roberto Abbado and Christian great latitude to experiment, allowing doesn’t come easily in larger organi- Zacharias, soprano Dawn Upshaw, them to stretch and take risks. Most zations. Musicians with long tenure and Douglas Boyd. The SPCO recently important, perhaps, is what Artistic in the orchestra—who cared deeply announced two new future partners, Partners do for the artistic profile of and who had a strong vested interest violinist Thomas Zehetmair and con- the SPCO. Carefully selected to fulfill in the SPCO’s survival and growth— ductor Edo de Waart. There is great one of the orchestra’s primary strategic brought a knowledge of history and a potential to expand collaborations programming goals, partners bring sense of gravity to the process. The to include dancers, actors, videog- variety, depth, and creativity into the intimacy that was possible given the raphers, and other artists whose organization on a revolving and cumu- orchestra’s size and the nature of its perspectives could change the SPCO’s lative basis, creating a well-rounded community created a sense of family artistic palette dramatically. artistic profile for the orchestra. As and opened channels of communica- years pass and the orchestra’s roster tion that ultimately would be critical to Noteboom describes his growing of collaborators grows, the breadth of the process. Conditions in the industry enthusiasm for the new system, saying the orchestra’s experience brings new itself called for new ways of doing “As we started down the road, nobody power to its playing, lifting the SPCO business and offered a challenge to was scratching their head as much as beyond competence and toward its the SPCO. Could a chamber orchestra I was. I had never lived with this kind self-defined purpose of “distinctive be the one that would break the mold of model before, and I wondered. I experience and brilliant performance.” of conventional practice and show the was intrigued by it intellectually and it felt pretty interesting, but I didn’t have Pierre-Laurent Aimard a clue. As each Artistic Partner came on the scene and spent time with us, it just became clearer and clearer that this was a really good thing. However, I don’t think that would have been true if it hadn’t been coupled with some other things we were doing.”

Certainly, combined with the deepening involvement of musicians, the Artistic Partnership model appears to be working well. The arrangement has numerous advantages. It gives Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 65 The fact that the SPCO is a chamber and decisions. It followed a rigorous self-evaluation process and gover- orchestra nance committee review. To overcome disenfranchisement and encourage allowed the responsibility, it eliminated the power of the Executive Committee and transferred decision-making to the organization a entire board. It added many additional Throughout his tenure, Coppock con- women to enhance agile thinking and tinued to demonstrate behavior typical maneuverability break down traditional networks. It of an entrepreneurial leader: unusual insisted that the board engage in the confidence, an almost unrelenting that doesn’t critical issues of the orchestra, saying tendency to challenge assumptions, a yes to increased financial contribu- high tolerance for risk, an insistence on tions, more meetings, and additional big vision, and a passionate dedica- come easily work. One board member says, “The tion to the orchestra. There was always other boards I sit on fret with gov- “a bit of chaos” around him, and he in larger ernance problems. This orchestra’s wasn’t patient by nature. “When Bruce leadership and the board had a very has a big idea, he just sort of skips organizations clear vision. It was very clear to every- a lot of details,” says one musician. one what the plan was and that they But he learned to slow down, to wait way to renewed artistic vitality? These were sticking to the plan. The goals for others and to build inclusion. Says conditions, together with a number of were communicated and everyone was one board member, “With his energy, enabling factors, contributed to the singing from the same book. It was the foresight, and musical knowledge, SPCO’s success. best execution I have ever seen.” Bruce was the ideal guy. He can get agreement on where he wants to go, New Governance Practices and a Visionary, Determined, and not because he rams it through but Re-engaged, Committed Board Disciplined Leaders because he’s inspirational. He’s logical; The SPCO board was a constant and As a leader, Coppock embodied a rare he takes you through steps of why this productive partner with management blend of leadership capabilities and is the way it should be. A true leader.” and musicians throughout the transfor- personal characteristics that matched The board served as a catalyst for mation process. Continuity, vigorous the SPCO’s call for someone to take Coppock’s ideas and actions. It tested engagement, commitment, and gener- the orchestra to the next level. While his thinking, challenged him, mentored osity of time, intellect, and resources he says that he did not know where the him, and helped him grow as a leader. were critical to achieving organizational orchestra should go “for quite some goals. Increasing board effectiveness time,” he was driven by the curiosity to Coppock, who describes himself as (attendance, size and quality of mem- find out. Members of the SPCO orga- a “bit of a contrarian” and a “learner,” bership, teamwork, and annual giving) nization cite his thorough knowledge had a strong companion leader in alongside building institutional and of the field, strong vision, capacity for Lowell Noteboom. The mentoring artistic capacity made sure that what continual learning, persistence, and partnership between Coppock and mattered was always before the board personal courage as fundamental to Noteboom was perhaps unprec- and that a critical mass of people in his success in the Twin Cities. edented in the field. It was built on the organization was working toward mutual respect, intellectual rigor, the same ends. and inspiration, a love of music, and a passion for making a difference. The SPCO implemented a well- As Noteboom explains, Coppock is conceived strategy aimed at building “full of ideas. He’s full of energy…. board effectiveness during this period. [he] would provide the energy, push It eliminated term limits to encour- the organization, and push me. And age long-term ownership of actions 66

development work, worked with an executive coach, and hired highly disciplined and task-oriented senior staff I would counsel tolerance. I think I to balance his own inclinations. helped him learn how to bring people along collaboratively. We were thought Musician leaders emerged as well, and partners.” Coppock adds, “Lowell and their determination and persistence Vision, Quality and Inclusion I debated a lot. We wouldn’t fight; we were critical to advancing the process would just discuss everything—pricing, methodically over time. They helped Inclusion, collaboration, and a single- artistic leadership structure. He made manage the complex dynamics within minded focus on the long-term vision me much better because he forced me the orchestra, sometimes at high were key underpinnings of the suc- to think things through from a variety personal costs. The multi-constituent cessful completion of the immense of perspectives.” It is no small credit to team of leaders—all working toward a and complex changes which ema- Coppock that he sought Noteboom’s single goal—kept the process focused. nated from the SPCO’s strategic guidance. Knowing he would have to “A rich combination of vision and dis- plan. Nothing, however, would have “do things that would guarantee that cipline was the key,” says one staff happened had it not been for the (he) would never be hired by another member. “My experience is that if you involvement of musicians who partici- orchestra,” Coppock told Noteboom, have vision but no discipline you never pated in every important decision. Over “You have to help me manage this risk get any place. But if you have both the last decade, board, musicians, and by giving me a long-term contract and you can really get stuff done. Vision staff purposefully blurred the boundar- you have to insulate me from the slings and discipline together allowed us ies that traditionally separated them and arrows.” to do audacious things that worked. while still retaining their distinct roles The change hasn’t been easy and the and contributing their individual exper- Noteboom and Coppock worked organization has been bursting at the tise to the model’s design process. together to assemble a management seams with change. Without the disci- Breaking down these silos helped team that provided balance for the pline, we could have gone off the rails.” create positive energy, generate cre- sometimes free-wheeling Coppock, ative ideas, and respond to challenges who, according to Noteboom, was Expert Help over time. Leaders took time to rec- “always going 150 miles per hour when The SPCO turned regularly to facilita- ognize and celebrate the participation the staff [was] trying to catch its breath tors to help with planning and contract and contributions of individuals across from going 85.” While it was clear that renewal as a means of strengthening the organization. Noteboom says, Coppock’s enthusiasm was captivat- its capacity and building cooperation “The strategy, while it was inspired ing, the staff “sometimes felt like they and collaboration. The orchestra also and informed by Bruce and perhaps at were drinking from a fire hose.” Aware took advantage of the diverse learning some point by me, in many ways has of his whirlwind tendencies, Coppock opportunities offered by the Orchestra its genius in the fact that the develop- enrolled himself in professional Forum to test its ideas, refine its think- ment of it was so inclusively done. So ing, and gain insight from colleagues at the end everybody could look at the and Forum faculty. result and nobody could say, ‘Where Over the last decade, did that come from?’” board, musicians, and staff purposefully The changes at the SPCO were motivated by the desire to do things blurred the boundaries that traditionally better—from managing the orchestra’s finances, to improving board engagement, to increasing audiences. But separated them while still retaining most of all, they were inspired by a desire to be artistically better. Artistic their distinct roles and contributing excellence is generally an unchal- lenged given in orchestras, although their individual expertise to the model’s that is no longer so at the SPCO. It design process Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 67

Former SPCO President and Managing Director Bruce Coppock

tra invites finalists for a two-week trial, during which they perform in the orchestra, play a recital, and perform and informal learning opportunities to chamber music with SPCO principals. facilitate self-improvement across the Being accepted into the SPCO requires organization, including help for musi- an 80 percent majority vote of the cians to effectively execute the new audition committee, and once hired, vision. Noteboom made certain that new musicians undergo a demand- there were multiple opportunities for ing provisional three-year pre-tenure performance feedback among staff period to ensure compatibility. was not easy to question the qual- and board. Staff received formal per- ity of the orchestra’s concerts, but formance reviews, and the president THREE STEPS FORWARD doing so was critical to beginning the was given multi-constituent reviews conversations about increased musi- that provided feedback from staff, Impact and Learning cian ownership of the SPCO’s artistic board, and musicians. Board members goals. Were the orchestra’s concerts participate in regular self-assessment The impact of the SPCO’s new artistic really good enough to rank it as one and review by the governance commit- model is visible in many ways. The of the world’s best chamber orches- tee, and the chairman is encouraged to organization reports that its culture tras? Was it possible that audiences engage in a voluntary review process has changed dramatically. In moving were declining for reasons of quality, as well. from hierarchy to partnership, the not money or time constraints? What SPCO has become more entrepreneur- were the orchestra’s artistic weak- The board, musicians and staff work ial. Today the orchestra embraces a nesses, and how could they be fixed? jointly on decisions from strategic new set of cultural ideals: innovation, What role did musicians need to play planning to concert dress. Despite the risk-taking, professionalism, collabora- in this analysis, and how should they occasional frustration with the time tion, and intimacy. A culture of “good be responsible in the future for improv- required for multi-constituent decision- enough” has been replaced by a new ing the quality of individual playing and making, SPCO constituents consider standard of execution, excellence, of ensemble performance? Shouldn’t the process superior to a top-down and continual improvement, both on musicians actively pay attention to approach. The process creates owner- stage and off. A reward system based musical details, listen to performances, ship and a solid platform for action. on high performance has reduced a and debrief after concerts in order to The board intentionally and purpose- debilitating sense of entitlement. A engage in critical discussions about fully engages musicians in standing desire for continual learning and self- artistic goals and improvements? committees and task forces of the improvement has replaced individual board as a means of informing deci- and organizational complacency. New Efficient Systems and Processes sions and building relationships among ideas are encouraged and welcomed, musicians and trustees. Successful implementation of the new and everyone shares authority and artistic model was in part a function accountability. “As the organization has Undoubtedly one of the biggest struc- of important changes to the orga- tural changes has been in the SPCO’s nization’s systems and processes. musician recruitment process, which Musician job descriptions are regularly now is geared toward selecting the reviewed and adjusted to account for best fit for the orchestra’s artistic changing orchestra demographics and objectives, profile, and culture. The to take advantage of emerging skills SPCO carefully screens candidates and talents. The orchestra offers formal through a series of activities in order to assess the musical curiosity, initiative, training, and experience they would bring to their work in the organization. Following final auditions, the orches- 68

satisfaction.” Another says, “Before, I didn’t want to have anything to do with anything. I came, I played, and I left. [Then] I got re-involved in things that go on in the orchestra and I found I had a voice that I never knew I had. I love to come to work now. I love to be a part of the organization. I love to do organizational things.” Working with Artistic Partners is especially liberating, “You can’t be blaming and musicians enjoy the partnership immensely. Artistic Partners, say musi- a Music Director for cians, “lead by force of example and knowledge and musicianship not just how the orchestra become more successful, it’s become because they happen to be standing more self-confident,” says a staff on the podium.” sounds. We’re the member. “And the more self-confident it is, the more successful it is.” The increased commitment and involvement of musicians, as well ones performing and The SPCO musicians report that the as the Artistic Partners model, have changes have affected their lives improved the artistic quality of perfor- we’re the ones that directly. They say that initial suspicion mances, changed the SPCO’s artistic and controversy has turned into “85 profile, and increased both the size percent of people who like this model.” and enthusiasm of audiences. “To me have the responsibility One musician says, “I haven’t heard the level of playing is way up,” says anyone wishing for a return to any one musician. “It’s hard to describe. for how it sounds.” other model.” The model has had a In my mind it’s because people can’t profound effect on the musicians’ self- be lackadaisical. It’s up to us. You image, improving their motivation and can’t be blaming a music director job satisfaction. “The model is huge for how the orchestra sounds. We’re for me,” says one musician. “After the ones performing and we’re the being a section player for 15 years with ones that have the responsibility for no voice whatsoever, having a place how it sounds.” Working with Artistic where my voice is heard is huge. It’s Partners has increased the diversity of really changed, immensely, my job the SPCO’s repertoire and brought the orchestra greater recognition. A board member says, “You can see the results when you go to concerts,” and a musician reports that concerts are sold out Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 69

➜➜Diversity of ideas enriches process and outcomes. An inclusive process builds ownership and yields last- because “our regular concertgoers ing results. Inflexible leaders with notice” the improvements in quality. narrow perspectives suppress inno- Artistic Partners agree, saying that vation, while open-minded leaders ➜➜Musicians need more than artis- there has been “a revolutionary sea who advocate and enforce inclusion tic skills to fully participate in the change” in the spirit of the orchestra. and multiple perspectives boost it. orchestra’s life. The organization “The strides, not just the commitment must create opportunities for skill- but [also] the quality of music-making ➜➜Innovation requires intellectual building. have been not just subtle but an capacity. Recognizing, valuing, and unbelievable leap in how the orches- mobilizing intellectual capacity from ➜➜Organizational systems, processes, tra plays,” says one Artistic Partner. inside and outside the organization and culture must evolve to enable “I think it has a lot to do with the new provides a critical foundation for innovation. Understanding which structure.” producing meaningful and sustain- systems and processes enable able innovation. innovation and developing a cul- Although there is a serious lack of ture that values innovation are key ➜➜Innovation also requires disci- metrics to assess the success of inno- factors in producing sustainable pline, patience, space for creative vation in orchestras, the SPCO cites success. thinking, reinforcing reward mecha- measurable progress that it believes is nisms, and time. ➜➜Continuity of vision is critical, and linked directly to its new model, includ- leadership continuity during any ing a larger and more diverse audience ➜➜The board can be a critical enabler change process is just as critical. base (up by 50 percent), highly tal- of innovation by advocating for Recruitment of new leaders must ented musicians, and Artistic Partners innovation as something the orga- occur in the context of the organi- joining the orchestra, a stronger and nization must do and by engaging zation’s vision. Because musicians more generous board, highly talented forcefully in the work of innovation, carry the greatest institutional staff, scores of volunteers, balanced not just by overseeing it. memory, their participation and budgets for 14 of 15 years with no ➜➜Musician empowerment goes a validation are essential to progress accumulated debt, and an endowment long way. The capacity of musicians and sustainability. that has increased from approximately to make choices and to transform $20 million to more than $40 million those choices into desired actions over the past decade, placing it in the THE CONTINUING JOURNEY and outcomes increases through top quartile of major U.S. orchestras active engagement. Having deci- Future Plans and (computed as a multiple of operating sion-making power increases job Aspirations expense budget). satisfaction and commitment to the organization. Today, the freedom to choose is very The SPCO worked hard during its jour- important at the SPCO. “We were ney to capture learning for the field, stuck in the old model for so long. and it reports the following insights: Now everything has opened up,” says one musician. Getting there, however, ➜➜Leaders must have strong and clear was often a “thorny” process, and vision, and visioning far into the the journey still continues. Musicians future stimulates imagination and admit to having been “green” and unleashes creativity. “pretty scared” at the outset. Now they ➜➜People support what they help to have new competencies, and they build. It is important to translate are seeing the results of their growing vision, mandate, and focus into meaningful work that engages all constituents. 70

play our instruments. There is a whole other set of skills like people skills and those are sometimes off limits to talk about. But I think it’s getting better.” put themselves in the line of fire. Learning how to do difficult things Assuming that musicians would be will be central to building increased sufficiently mobilized to participate in capacity at the SPCO. As the orchestra planning the orchestra’s artistic future influence and leadership. Staff were moves ahead, it will focus on enabling was a risky proposition. Believing that afraid of “too much vision,” but they organizational effectiveness: investing the SPCO could succeed in nurtur- have settled into a new way of work- in developing the skills and leadership ing the kind of long-term relationships ing and an enthusiasm for innovation. potential of people throughout the with distinguished artists that would “Why innovate? Innovate to what organization, establishing effective pro- end?” says one staff member. “What cesses to facilitate musician feedback, goes awry is the not knowing to what clarifying the process for bringing on end. We’re innovating to make our- Artistic Partners and for recognizing selves sustainable.” their contributions when their relationship with the orchestra ends, setting Some things have been easier than up learning systems that are compati- others. Musicians, in particular, have ble with musicians’ learning styles, and had to make big adjustments. They building better communication skills are still learning what practices and across constituencies. skills are necessary and most efficient in exercising their new authority. In part, the SPCO succeeded in its Their professional training does not process because leaders—notably include developing the institutional Coppock and Noteboom—committed skills required for the complex leader- to seeing it through. The challenge is ship functions at the SPCO, and they staying the course, continuing to learn, are learning on the job, sometimes in and addressing yet unfulfilled vision, painful ways. While communication, even following transitions in leader- feedback, and artistic give-and-take ship. Sarah Lutman, formerly senior are open and constructive during vice president of content and media rehearsals, it is excruciating for musi- for Minnesota Public Radio/American cians to “talk to someone about a Public Media, became president and specific ongoing problem without managing director of the SPCO in them feeling they might lose their December 2008. Erwin A. Kelen has job.” Professional improvement and taken over from Noteboom as chair- dismissal decisions have proven espe- man of the board. Both are committed cially difficult for musicians, and the to continuing the journey started by model has been altered to relieve them their predecessors. of this responsibility. Hiring is easy, but The SPCO’s journey was full of risk. dealing with inadequate performance Leaders throughout the organization and dismissal is not, and the musicians who stepped up to challenge conven- have been unable to fulfill their original tional practice and push boundaries expectations in this area. “The social consequences were just too high,” says Coppock. A musician says, “All of us have learned very specific skills to Fearless Journeys: Innovation in Five American Orchestras Case Study: The Saint Paul Chamber Orchestra 71 The challenge is staying the course, raise the orchestra’s profile was a leap the SPCO hosted an International of faith. Certainly, transferring artistic Chamber Orchestra Festival, featur- continuing decision-making to musicians who ing the Chamber Orchestra of Europe, had no experience in this leadership the London Sinfonietta, the Orchestra role was an act of courage. But it all of the Age of Enlightenment, and to learn, and seems to be working. A decade ago, Philharmonia Baroque. The festival the SPCO declared who it wanted placed the SPCO in the company of addressing to be and set out to establish a clear the world’s finest chamber orchestras place for itself in the world. In 2009, and demonstrated to the Twin Cities yet unfulfilled in celebration of its 50th anniversary, just where the SPCO belonged. vision, even following transitions in leadership

SPCO Violinist Daria Adams 72

Atlanta Symphony Orchestra War Room BEGINNINGS A Context for Innovation

Atlanta is a fast-growing transient city with a population of five million. Despite its ever-changing social, ethnic, and economic landscape, the city’s historic roots run deep. Southern traditions, well-established and cherished by old-timers, do not bend easily to accommodate the unfamiliar rituals, behaviors or interests of newcomers. Even legendary conductor Robert Shaw was criticized for his emphasis on contemporary music, and the board Atlanta Symphony Orchestra of the Atlanta Symphony Orchestra asked him to resign just five years into his promising tenure as music director. Thanks to overwhelming support from the public, Shaw stayed in his job, but it was clear that changing things in f r o m s i l o s Atlanta would be an uphill battle. How then, did the Atlanta Symphony Orchestra (ASO) come to find itself t o s y n e r g y : under the leadership of two visionary and innovative leaders—Robert Spano and Allison Vulgamore—who were dedicated to trying new approaches, b u i l d i n g a to creating novel programming that enables audiences to experience music in unexpected ways, and, as collaborative Vulgamore says, to promoting an artistic agenda that makes room for plenty of “new stuff?” Certainly, the ASO’s o r g a n i z a t i o n a l history and Shaw’s particular legacy cannot be underestimated. Shaw joined the orchestra as music director in 1967, serving in this post until 1988, culture when he became music director emeri- tus until his death in 1999. Despite his early conflict with the board, Shaw neither gave up on his artistic ambition nor gave in on his dedication to new ideas and repertoire. During his tenure, the ASO offered musicians their first year-round contract, added Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 73

summer programming, and formed the Atlanta Symphony Orchestra Chorus of 200 voices. Shaw also formed the Atlanta Symphony Orchestra Chamber Chorus, a select group of 60 voices of president and CEO in 2008), seri- that further enhanced the orchestra’s ous troubles were already emerging, influence and programming. Under Today, the ASO is a large, complex and the orchestra spent much of the his leadership, the ASO and Chorus organization with nearly 200 employ- decade in turmoil. Bitter relationships made national debuts on both radio ees, 15,000 donors and subscribers, with musicians, the death of beloved and television, toured internationally, 350 volunteer members of the youth father figure Robert Shaw in 1999, Yoel performed at Carnegie Hall and the orchestra and chorus, several hundred Levi’s controversial departure in 2000, Kennedy Center, and made numerous volunteers of the Atlanta Symphony torturous relations among orchestra acclaimed recordings on the Telarc Associates, and a governing and hon- constituencies over his departure, and label. The ASO has produced a dis- orary board of nearly 100 members. an accumulated deficit of $4 million cography of more than 100 recordings Its current operating budget is $45.6 threatened the ASO’s future. Morale and won an impressive 26 Grammy million. The ASO is a division of the throughout the organization was dan- Awards. Robert W. Woodruff Arts Center. As gerously low, and Vulgamore and the one of four operating divisions of the board set their sights on turning the The ASO remains a youthful orchestra Center, the ASO has its own board of organization around. The orchestra had in a youthful city. Established in 1945 directors and management team. transformed itself before under Sopkin as the Atlanta Youth Symphony under and Shaw, and it would do so again. the auspices of the Atlanta Music Yoel Levi became the ASO’s music Club, the orchestra grew from a youth director in 1988 following Shaw’s Despite its highly ensemble to a respected regional retirement. In 1994–95, the ASO orchestra under the artistic guidance marked its 50th anniversary, which it of Henry Sopkin who led the orchestra celebrated with nationwide TV broad- respected artistic for two decades. By 1947, the fledg- casts and a successful Northeast tour ling group had become the ASO, and that culminated in New York City. In the legacy... the ASO as the Symphony Guild became more summer of 1996, performances by the active in fundraising and selling tick- ASO and Chorus in the Olympic Arts found itself struggling ets, the orchestra’s budget tripled. It Festival and the Opening Ceremony of expanded its repertoire, increased pro- the Centennial Olympic Games drew grams for young people, and brought an international audience of over 3.5 with a series of top-flight soloists such as Glenn Gould million people. The Atlanta Symphony and Isaac Stern to Atlanta. In 1964, the Youth Orchestra gave two concerts in potentially debilitating ASO was a founding member of the the Olympic Arts Festival and anchored Atlanta Arts Alliance, the arts organiza- the Closing Ceremony. circumstances in tion that has evolved into the Woodruff Despite its highly respected artistic Arts Center. legacy, celebrated success, the sta- the 1990s bility of its leadership under Robert Shaw, and its recognition as an innovator in the performance of orchestral/ choral music, the ASO found itself struggling with a series of potentially debilitating circumstances in the 1990s. When Allison Vulgamore joined the ASO as president and managing director in 1993 (she received the title 74

deeply alienated and isolated, and frustration and bitterness characterized every part of the organization. These THE PATH TO INNOVATION problems, Vulgamore believed, grew Starting Over at the from a fundamental failure of the organizational culture to support shared Beginning vision and values and to engage all Tough Terrain, New Leadership, constituents in thinking strategically and Leveraged Opportunities about the orchestra’s artistic future. orchestra’s programming and artistic identity, improve staff morale, stimu- The cultural terrain Vulgamore encoun- Vulgamore maintained that solving the late increased donor support, and tered when she arrived at the ASO in inherent cultural problem must be the define new strategies for community 1993 was treacherous. Things were critical first step in solving related artis- engagement. clearly “a mess.” The board and musi- tic and financial problems. A healthy cians had been locked in an 18-month internal culture—one that enabled To elevate morale and to galvanize stalemate with an unsigned labor participation, fostered communication, the organization out of deep crisis, agreement and failed negotiations. and promoted shared decision- Vulgamore advocated an open and Three years later, with financial crisis making—would give the orchestra the inclusive conversation about what looming, the musicians went on strike leverage it needed to attract strong the future should and could look like. for ten weeks. Constituencies were artistic leadership, strengthen the These conversations—in which everyone participated as equals—sought to eliminate the ASO’s behavioral silos in favor of renewed alignment around mutual goals. In all, the ASO gathered nearly 200 people—board, staff, chorus members and musicians—to work together on developing a shared platform that would guide all future decisions of the organization, including the design of its new concert hall and the selection of a new music director.

The initial Task Force Phase of the ASO’s cultural evolution thus began. It began without anyone knowing or assuming where it might lead, but with the sense that it would be lasting and meaningful for the organization—a change, says Vulgamore, “for years and years to come.” In short, it was understood by all participants to be “large and important work” that would solve fundamental problems and bring greater capacity to the

ASO Music Director Robert Spano and former President and CEO Allison Vulgamore discuss new works by the Atlanta School of Composers Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 75 Organizational retreats designed to discuss One staff member credits Vulgamore with having saved the organization: and explore “The institution almost came apart. used to consider the need and scope Allison put it back together by col- of an eventual endowment campaign. laborating. She created everything by The resulting campaign, In Concert challenges and consensus.” Vulgamore does not claim for a New Century, raised $40 mil- purposeful design, though she does lion, and was completed in 2000. The issues eventually acknowledge calculated vigilance and financial planning model has become discipline. The tipping points, she says, the organization’s standard platform for began to create may seem logical in retrospect, but studying the financial implications of all they “came to me as we went along.” its decisions. The model enables the ASO to evaluate short-term budgetary What were the defining moments for ownership across implications as well as financial impact the ASO? Certainly, the institutional based on a ten-year planning horizon. constituencies leader’s insistence on having everyone at the table to explore vision and The need for a new long-range plan organization. While Vulgamore care- mission helped heal personal wounds also provided a critical opportunity for fully maintained and reinforced the and eliminate the bitter schisms collaboration. For the first time, multi- principles of shared communication, among the orchestra’s constituents. ple task forces involving musicians and the process she designed was organic, But there were deep financial wounds chorus members, staff, board mem- allowing for a proper mix of hands-on as well, and it took a collaborative bers, volunteers, and representatives principle-based guidance and hands- effort to stabilize the deteriorating of the community worked together to off ideological stewardship. The topics financial situation. An extraordinary develop the plan’s content. Sometimes of cross-constituent work evolved over effort by all constituents—aided by a musician led a task force, sometimes time—from discussions of culture, con- an anonymous contribution—put the a board member, sometimes a staff fidence and harmony to more specific orchestra on sound footing once again. member. Vulgamore attended meetings engagement around developing a long- Organizational retreats designed to only by invitation. “That was not out- range plan, to dialogue around how discuss and explore challenges and sourcing,” she says, but rather “giving to execute the plan, and onward to issues eventually began to create permission for thinking.” Task force the next issue and the next—allowing ownership across constituencies. leaders met regularly to coordinate the vision to take shape incrementally What began as panels and break-out agendas, learn from each other, and while the process of ownership-based sessions turned quickly into constitu- verify shared direction. decision-making became increasingly ent-driven conversations that almost more practiced and established. As immediately expanded the quality of Surely one of the most crucial it became more natural for cross- thinking. “We realized,” said one ASO moments in the ASO’s cultural jour- constituent groups to work together on member, “that we didn’t need a panel. ney was the selection of a new music solving problems, initial project-based We were the break-out session, and director. The orchestra’s developing task forces became the institutional we had to be the ones conversing on culture was immediately challenged behaviors that ASO members now topics.” and tested. Empowered musicians describe as “how we live and breathe.” were encouraged to define what was To support this growing enthusiasm and engagement, ASO leaders launched a series of major research and evaluation initiatives in the late 1990s that, coupled with focused task forces, laid the groundwork for what the orchestra calls its “cross-constituent governance model.” One of the tools created through this process was an in-depth financial planning model 76

want to play and why, to making them partners in shaping a performance, to helping them solve musical and institutional problems. His ability to The ability to give space aligned with Vulgamore’s management style, and together they collaborate joined created a culture that prizes the vibrant and unabashed sharing of ideas excellence and (good and not-so-good), freedom tions are welcomed and appreciated. of expression, mutual respect, and Participation generates rewards, ambitious aspiration. In the same way among which are greater inclusion curiosity at the top of that Vulgamore set out to stimulate and a place at the table where critical new conversations and create new issues are being decided. People are the committee’s list decision-making behaviors, Spano at the center of decisions at the ASO, enlarged the artistic conversation at and there is collective ownership of of requirements for its the ASO. As one musician says, he both decisions and implementation “is a leader who is energized by what strategies by as many stakeholders as comes next or what can be new about the ASO can manage. “Work hard and new artistic leader what was old.” The same could be said play hard” is actually a rule at the ASO, needed next, and the search com- of Vulgamore. Their approaches were and a key principle of its culture is the mittee was charged with “striking organic, keenly aware, and deeply unfettered enjoyment of both work high” and “thinking out of the box.” process-oriented. and play. There were no top-down directives from management or the board. To add further strength to the artis- All the organization’s most important Recognizing that selecting the right tic leadership team, the ASO also work is done in cross-constituent music director was a critical lever appointed Donald Runnicles as princi- teams or task forces. “They can go on in achieving institutional goals, the pal guest conductor. Together, Spano, forever and drive you crazy,” says one search committee acknowledged the Runnicles and Vulgamore formed a staff member, but clearly it is a joyful need to find someone who could build groundbreaking Creative Partnership madness. People do not always walk consensus and unite everyone in the Team that defined a new collaborative away agreeing, but they have learned organization around a common pur- model for developing musical pro- to disagree. Meetings mean learning, pose. The ability to collaborate joined grams and other projects. Norman as do “conversation room” encoun- excellence and curiosity at the top of Mackenzie, who serves as director of ters. Communication at the ASO is the committee’s list of requirements for choruses, contributes to the creative surprisingly direct. People talk at once its new artistic leader. energy of this collaboration. in meetings, and voices rise and fall with passion and humor. Dialogue is The ASO hired Robert Spano as music New Behaviors and Practices intelligent and intellectual, but it is also director in September 2001. Spano’s Emerge: A Closer Look at the informed with the speakers’ genuine exemplary achievements with major ASO Culture beliefs in the importance of what they orchestras and opera companies The ASO’s culture and the principles are saying and doing at any moment. coupled with his natural openness that drive it are completely transpar- Usually the work begins with a game seemed a perfect match for the ent. It is based on high inclusion and challenge: “We need to go over here, orchestra. Described as an educator, a participation imperative. People are and we don’t know how.” It is a deeply innovator, and collaborator, Spano is a encouraged to participate in organiza- personal process, and everyone “has new-era maestro—hip, informal, and tional life, and those who do are better his or her skin in the game.” All con- willing to mix with folks, as well as a off than those who don’t. Courage wins stituents share an assumption that powerful and charismatic leader who respect, and even unpopular contribu- knows what he wants artistically, and the sum is greater than the parts, and how to get it. Spano believes that the they focus on the big issues, working best artistic results occur when ideas have enough space to develop, and he strives to give “breathing room” to artists—from listening to what they Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 77

and trusted. Diversity of opinion is extremely important to the ASO. As one musician says, “I am glad that an orchestra is big enough and varied hard to keep their individual issues enough to accommodate eccentrics. or positions in check. At the same They can spur you to think differently.” time, they are expected to bring their own ideas and contributions to the This brutal honesty rarely violates implied boundaries. Says one ASO table. Participants join discussions Culture in Action: The War Room as equals—regardless of their titles member, “We are animated and we or roles within the organization. What can be very forceful, but it’s always The ASO’s War Room (a reference is important and valued is creativity. bounded by a sense of respect.” This to the 1964 film Dr. Strangelove) is a The core belief is that group creative can be a risky personal environment, model of the ASO culture in action. solutions are better than those gener- but people embrace the risk because It is a process and a place where ated in isolation, and that real creative they know they are cared for. The cul- strategic programming decisions are consensus emerges from the free ture also flourishes because there is made and where organizational vision- expression of ideas by individuals an abundance of fun and a conscious ing occurs. First established in 2000, within the group. focus on humor and celebration. “If the War Room brings together the you don’t have a good sense of humor, Creative Partnership Team (president, This kind of freedom would not be and if you cannot appreciate someone music director, principal guest conduc- productive or even possible without who might be sarcastic or crude at tor) with department heads, artistic a high degree of transparency and times, then we’re probably not going personnel, and others to ensure that authenticity—not to mention camara- to get along,” says one staff member. programming choices represent the full derie, compassion, trust, and respect. “You can never have enough celebra- range of the ASO’s mission and priori- The ASO shares all its information, tion,” says Vulgamore. ties. All season programming is done in including financial data, personal and the War Room. Discussions also cover organizational successes and failures, When describing how the ASO lead- artistic needs and priorities, marketing worries and concerns. Open sharing ership functions in this culture, ASO and fundraising issues, education and of challenges and difficulties makes it leaders compare themselves to traffic community goals, budgetary implica- easier for the organization to celebrate controllers. Organizational activity is tions, and other issues—all viewed achievements, and it deepens the moved by a series of trains—all run- together organically and contextually appreciation of the individual contribu- ning at the same time on multiple to enable the ASO to translate its strat- tions to organizational success. tracks at different speeds—and some egy into high-impact results. The ASO trains are further ahead or carry more also devotes time in the War Room to At the ASO there is no difference cargo than others. Leaders do not larger topics, such as touring, commis- between personal and office posture. drive the trains but continually assess sioning, “blue-sky” brainstorming, and One senior staff member says, “I tell and reassess progress, evaluating other macro-level activities. prospective employees, you will not what has been accomplished and live a life here where you go home what still needs to be done. They Season planning at the ASO begins and you are one kind of person and respond by sending some trains back 24–36 months in advance. To start then you come to work and you have out, holding some trains in the station the process, BHAGS—Big, Hairy, to be someone else.” Another adds for a period of time, or changing the Audacious Goals, a term coined by that in many organizations “you just speed of the trains in order to ensure business consultant Jim Collins—are go to work and the president doesn’t that they all arrive at the right stations posted on a planning grid, and ideas even know your name. But I get a at the right time and with their cargo begin to flow, including ideas from personal phone call when I am going intact. individual team members as well as through something, and that is a big “Spano’s Specials.” The War Room deal to me.” People are willing to meets monthly—usually for four or five expose themselves and their ideas hours—and there can be as many as because they know they are respected 20 people working simultaneously to program a season. There are agendas, 78

financial resources for library costs, grand rights (legal permissions for dramatic performances), production expenses, etc.? What are the really assignments, preparatory work to important choices and trade-offs to be done, and schedules to maintain. be made? There is an underpinning Although the conversations may be of improvisation to the process, with To make it successful participants wildly open and the process almost variations emerging from fundamental must be passionate, knowledgeable, uncomfortably free-flowing, War Room organizational themes, and with partic- fiercely committed to their ideas, and activity is propelled by deadlines and ipants “riffing” off each other’s ideas to tough. They must be quick-thinking, getting the job done. create new insights, deeper meaning, able, and self-confident enough to be and more interesting programmatic inquisitive—even argumentative—in The War Room team works together combinations. the moment. They also have to be to design a season that is vetted humble. With 20 high-powered, com- through multiple lenses: What would The War Room has been described as petent individuals all vying for influence be a great concert and what does that a laboratory in which a multi-talented and input, emotions can surge and mean? Will it sell? Does it fit into the group of high achievers pour their tempers can flare. There is a good orchestra’s artistic appetite for the ideas into one decision-making cen- amount of yelling and sometimes even year? How does it fit with previous and trifuge. They share with others what tears. “If you bring a bad idea to the future seasons? Will it contribute to they know and believe. Then they work table, you are going to get shelled the orchestra’s artistic growth? Does towards decisions that reflect shared without hesitation,” says one partici- it sufficiently stretch and challenge understanding as well as individual pant, “and you have to be okay with everyone in the organization? Will it perspectives. As ASO Artistic Advisor that.” Says another,“This is a humbling build stakeholder and audience com- Evans Mirageas explains, “I would love business even when you think you mitment? How is it balanced with other to show you the final markup version know what you’re doing. It takes a bit things chronologically in the season? of any one season to demonstrate of a thick skin.” From both a sales and artistic point how sometimes a program changes 20 of view, how can the team construct or 25 times before it is finalized. That Participants in the War Room also a season that will permit the greatest means that the program in the end is must be thoroughly prepared. If possible institutional success? How the result of a tremendous amount of someone hasn’t brought expected should the organization best use its care and devotion to its creation.” information to the table, “there can be a total meltdown and it can be ugly,” The War Room is an intense experi- says Vulgamore. “We started to have ence, an environment where almost pre–War Rooms to make sure we were “anything goes.” It is also hard work. ready because when you get Robert [Spano] in there you want it to be the “You do the best most creative, functional, and efficient that it can be….but sometimes no one you can, and can save you.” The environment is not punitive, but it can be embarrassing if you don’t carry your weight. “You just by and large have to adapt, and we power through it,” says one participant. “You do the everybody brings best you can, and by and large every- Former Atlanta Symphony Orchestra body brings something to the table President and CEO Allison Vulgamore leads a War Room discussion something to the even on a bad day.” table even on a bad day” Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 79

Although the Music Director brings his own musical agenda to the table, he participates as a member of the programming team rather than delivering a season of programs for the group to discuss. “My ideas get altered all the time,” says Spano, “which is why this process is so valuable. If my decisions and understanding of things were not changed or influenced by other people, then there would be no point in talking to them.” At the same time, Spano, like his teammates, does not defer easily to pressure that is not backed up by reason, facts and incisive argument. Together Spano and other War Room participants elevate the conversation well beyond the lowest common denominator of many group processes, creating a more clearly defined artistic New York Philharmonic. Her career imperative; artistic and administrative profile, and solidifying the ASO’s col- began at The Philadelphia Orchestra leadership transitions at the top that laborative culture. (where she recently returned as presi- provided opportunities to embrace a dent and CEO). What the board of new style and approach; a history of Senior leaders consciously aim to the ASO perhaps only sensed was organizational responsiveness to ambi- demystify the War Room. Being part of that in Vulgamore it had found the tious and creative leaders; and the a meeting doesn’t make anyone more energy, youthfulness, and curiosity of ASO’s geographic location, which gave or less important. Anyone may be an emerging national leader whose it the space and safety to go against called into the War Room to address experience and instincts told her that the grain without attracting too much an issue if he or she has relevant and the orchestra “could pull itself back attention at early critical stages of its valid information that will inform critical together only through a process” rather experiment. While conditions may decisions. What is important is getting than through top-down enforcement of differ in other orchestras, the challenge the right people in the room, giving an artistic and management platform. to all leaders is to recognize when con- them the right information, empower- In hiring Vulgamore and in trusting her ditions are right to act boldly and make ing them to aim high, and reminding collaborative impulses, the board took a leap of faith in a new direction, even them that great things will come its first and most fundamental step if it is impossible to know at the outset through the process. toward lifting the orchestra out of crisis where that leap might land them. mode, solving systemic problems, and Developing Readiness: Key improving institutional performance Such conditions are risk-enablers, Enablers of Cultural Change across multiple dimensions. and risk-taking is critical to all orga- Allison Vulgamore clearly had the pro- nizational change initiatives. For fessional credentials to lead the ASO Many conditions can create opportuni- organizations seeking to understand through a tricky transition, but when ties for cultural change. In the case of and leverage their own conditions to she took the top executive job at the the ASO, four conditions came directly embark on such a journey, the ASO ASO, she was as yet untested in that into play: a financial and cultural crisis experience illuminates numerous uni- role. A trained musician and student of that made change both urgent and versal enablers, or success factors, voice, Vulgamore had served as artistic that promote the development of a col- administrator and general manager laborative culture. of the National Symphony Orchestra, as well as general manager of the 80

ASO Principal Guest Conductor Donald Runnicles, former President and CEO Allison Vulgamore, and Music Director Robert Spano at Verizon Wireless Amphitheatre at Encore Park in Alpharetta, GA

Modeling Behavior at the Top Without board endorsement and participation, cultural change at the ASO would never have happened. The board actively supports the new culture by sharing its table with others, If leaders give increasing its participation and work load, and focusing on its own learning people the right understand what they are looking for and maturity as a governing body. ASO and why. Chemistry matters as much senior leaders model collaboration as credentials, regardless of the role at all times, serving as a hub or epi- information and in the organization. The ASO hires center of their own circle with vibrant overachievers. An intense interview collaborative activities constantly a context for process screens potential employees overlapping and permeating depart- for their compatibility with the organi- mental boundaries. The shared artistic examining it, zation, and those who are comfortable leadership model, one of the first in the within the culture generally stay a orchestra industry, best exemplifies they will get the minimum of five years. Not surprisingly, teamwork, inclusion and open com- self-motivated extroverts with strong munication. The stylistic personality of personalities are usually at home at the the three collaborative partners (music right decisions. ASO. A readiness to learn and grow, a director, principal guest conductor, and comfort with complexity and ambiguity, for excellence and commitment is CEO) is bursting with vitality and joie and a genuine appreciation of eccen- leavened with charm, enthusiasm and de vivre. The music director and the trics are also defining characteristics. a down-to-earth demeanor. In meet- principal guest conductor also model ings and in the War Room, he quickly collaboration. While handling their own Remembering the Artistic Imperative changes from maestro to equal col- individual responsibilities, they readily The desire to maintain the highest laborator on any assignment or project, share the limelight in order to execute possible artistic standards motivates inspiring others to contribute their best artistic programs, consulting with each everyone at the ASO, and it imbues ideas. Like Vulgamore, he “doesn’t other on all artistic matters and partici- their work with a sense of purpose, make you feel like you are being pating in a wide range of non-musical discipline and cooperation. The judged in every single presentation you institutional activities. Creative Partnership Team actively make,” and he sets aside time to work engages musicians and the audience Vulgamore and Spano, in particular, through issues sufficiently to achieve to explore a creative programming brought leadership characteristics the best results. mix, recording opportunities and that enable collaboration. Vulgamore Hiring the Right People interdisciplinary projects. The War describes herself as “being myself Room keeps programming focused and being fully present” at all times. An individual’s fit within any orga- on institutional mission and goals. She insists on open doors. She has nization will be determined by the To increase diversity in the orchestra high expectations and is extremely culture, but leaders must clearly field, the Talent Development Program demanding, but she is a self-described supports artistic training for young “spiritual” person who manifests sym- African-American and Latino student pathy, understands human needs, musicians. In Theater of a Concert, the and is not afraid to acknowledge her orchestra works with installation artists own vulnerability. Spano’s demand to present a unique mix of musical pro- Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 81 gramming and visual enhancements that engage multiple senses to help ➜➜Focusing on people by demonstrat- deepen appreciation and understanding genuine interest in differing ing of the music. The Atlanta School of opinions, being as flexible as pos- Composers, now celebrating its 10th ➜➜Big egos and self-confidence are sible in accommodating individual season, is a multi-year partnership assets, but selfish actions and the needs, expecting and rewarding with four composers (Michael Gandolfi, urge to control others undermine active participation, publicly recog- Osvaldo Golijov, Jennifer Higdon, and collaboration. nizing individual success, tolerating Christopher Theofanidis) that reflects emotions, and engaging others ➜➜Be patient. Manage the delays. the ASO’s commitment to champion- beyond the “usual suspects” in Tolerate failure. Always seek align- ing new music and ensures that the artistic decision-making ment. Building culture is done one creation of music is as important to the small step at a time. It is hard work ➜➜Actively engaging musicians in all organization as performance. and takes time. aspects of organizational life

Numerous Grammy Awards, the 2007 ➜➜Embracing and facilitating chal- Managing the Culture Through ASCAP Award for commitment to new lenging situations, enabling debate Good Leadership Practices American music, and a prestigious and frank discussion, welcoming Mellon Foundation grant to support Sound leadership practices that are noise and conflict, tolerating uncer- creative projects testify to the ASO’s purposefully monitored and based tainty and ambiguity, and unlocking contributions to its art form. In 2008, on clearly stated principles help to people’s capacity to thrive on com- Spano was named “Conductor of the manage and fuel the ASO’s collabora- plexity and diversity Year” by Musical America. tive culture. Among the core practices ➜➜Using creative and non-linear at the ASO are: tools in meetings, such as models, Outlining Clear Values and Principles ➜➜Articulating a clear vision for the mock-ups, sketches story-telling, For innovation to succeed, the princi- organization that is easy to imagine mind-mapping, etc. to prototype ples that drive an organization’s culture and communicate, and that can new solutions that arise from must be explicitly stated and univer- spark motivation and employee empathy, intuition, imagination and sally embraced. The ASO identifies commitment, align projects, and idealism and that stimulate innova- several guiding principles that support create rationale for changes tion and change its culture: ➜➜Visioning far into the future, con- ➜➜Developing individual and organiza- ➜➜Leaders are the first to tell impor- tinually revisiting and examining tional knowledge and capabilities tant news, good or bad. They do personal and collective mission, ➜➜Talking about the culture and not delegate its delivery or blind- and encouraging employees to developing a common language to side their colleagues. imagine and dream about what describe it could be at the same time that they ➜➜When things are going badly, it is ➜➜“Walking the Talk” by demonstrat- are dealing with what is critical to stay focused on goals, to ing consistent behaviors, inspiring maintain a clear sense of purpose ➜➜Thinking freely and holistically— people through personal example, and direction, and to ensure good reconciling opposing views, taking responsibility for one’s own communication and direction. balancing long-term wish lists with participation, and doing what needs ➜➜If leaders give people the right short-term goals, looking for syner- to be done gies, and seeking to understand information and a context for examining it, they will get the right consequences of actions through- decisions. out the organization

➜➜If leaders keep their door open, ➜➜Reviewing and updating progress people will come in and share a regularly to enhance understanding wealth of important information. and increase ownership Lots of problems can be avoided ➜➜Investing time, energy and other this way. resources in generating ideas and building consensus, and establishing a sense of urgency and excitement that draws people out of their comfort zone 82

music director, and other constituents. The Dream Team addresses orchestra financial health on a monthly basis, using business modeling to make pre- Establishing Systems and Processes dictions and consider consequences. The ASO describes itself as an incu- Its mandate is to make the ASO’s bator—a place where a network of “dreams” come true. Numerous cross- creators and collaborators recognizes constituent task forces are assembled the inherent value of ideas, and works on an ad hoc basis to focus on specific practice. New financial modeling and to overcome external and internal initiatives. The collective bargaining research tools improved decision- resistance to them. The incubator nur- process is forthright and constructive, making. The War Room enriched the tures and nourishes emerging ideas, with a focus on transparency, informa- orchestra’s programming and helped products and technologies that are not tion-sharing, constructive evaluation focus its artistic identity. The orches- yet ready for adoption, investing both of needs and possibilities, and timely tra successfully balanced its budget, intellectual and financial resources in completion. Musicians actively partici- increased ticket sales, expanded their development. pate in all aspects of ASO life. They its donor base, continued success- populate cross-constituent teams and ful national and international concert ASO leaders purposefully monitor task forces, attend annual retreats, and appearances, and made distinguished organizational culture and ensure have a voice in artistic planning. recordings. When it purchased the that internal structures validate and national telemarketing firm SD&A, the reinforce it. The New Era Team, estab- ASO also began to diversify its busi- THREE STEPS FORWARD lished in 2003, is a cross-constituent ness model. The ASO’s leadership task force that includes members of Impact and Learning continues to ensure that cross-con- the board, the musicians of the orches- stituent decision-making is standard tra, and staff. The New Era Team The ASO’s achievements in the last practice throughout the organization, meets four times per year. Its charge decade reflect unprecedented growth including in major searches, program is to develop a deep understanding of in the artistic, organizational, and com- planning for the new concert hall, ASO operations; to study and debate munity arenas. During this time, the negotiating labor agreements, engag- pertinent issues; to vigorously explore orchestra engaged in innovative artistic ing new communities, approaching viable solutions to problems; and to transitions and collaborative partner- new donors, and understanding audi- make specific recommendations to the ships, undertook major fundraising and ence patterns—in short for every major Executive Committee for implementa- revenue expansion efforts, and cre- issue or decision the organization tion. The Joint Cooperative Council ated inventive community engagement faces. meets quarterly and ensures ongoing and training programs while building communication among musicians, the a culture of constant collaboration Certainly, the organization believes among the organization’s diverse con- that its collaborative culture posi- Reaching collective stituents. This unique orchestra model tively affects artistic performance. has resulted in exceptional balance “The orchestra plays well because it on stage, internally, at the negotiating is happy….and it is happy because bargaining agreements table, and in the community. [people] are passionately committed to what they are doing,” says one ASO with musicians A fundamental crisis in institutional member. Musicians, in particular, make performance drove the ASO to change a correlation between the culture and collaboratively and its culture, and today, many of the their performance. The art, they say, orchestra’s achievements in other “flows freely and we can make better areas can be attributed to its new music. There is no ‘us vs. them’ to early became standard approach to process and to the ever- hold us back.” Composers say that increasing impact of its developing practice culture. Reaching collective bargaining agreements with musicians collaboratively and early became standard Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 83

musicians who are happy and satisfied tend to practice more and devote more time to learning new music. They can “hear the difference” in the orchestra’s says Spano. A composer adds, “[musi- playing. cians] have really shaped the way I write music. They keep coming back to The new culture has had a profound me and I go back to them: ‘It does or impact on individuals, improving their it doesn’t work. Try this.’ The mentality morale, encouraging their personal is definitely very professional. They try growth, giving them the authority to very hard to have an influence on what speak for themselves, and liberating is being done.” them to think creatively. The requirements of constant interaction help The culture also influences orga- advance both social and professional nizational behavior and promotes skills—communication, negotiation, innovation. Throughout the ASO listening, and analysis. People claim people believe that the culture of to have gained greater ability to con- inclusion, cross-pollination and trans- front conflicts, make difficult decisions, parency creates fertile ground for and to reflect on their own behavior. individual and collective creativity, When multiple Because new employees are given stimulates bold thinking, and raises major responsibilities at the outset, it the capacity of the organization to voices are heard, is easy for new leaders to emerge and solve complex problems. A focus on find a place in the organization. “I find process rather than rules and pro- unethical or my relationship with the orchestra very cedures strengthens direct lines of rewarding and special. I have never communication, but it also creates a unconstructive had anything like it in my life, and I nexus of informal lines of communica- can’t tell you how much I value it,” tion—defined but not codified—that behaviors are less likely to get traction

Members of the ASO’s Talent Development Program play at a Board Meeting at Verizon Wireless Amphitheatre at Encore Park 84

Music Director Robert Spano conducts the Atlanta Symphony Chamber Chorus in a Theater of a Concert Production of St. John’s Passion at Atlanta Symphony Hall

reinforces the process. A healthy offline capacity to communicate improves online communication. There are hardly any surprises when it comes time to make decisions.

The lesson of the ASO experience sug- gests that if an organization wants to be an innovator (and wants innovations to stick), it must engage all its human resources in a spirit of collaboration and shared purpose. An inclusive process also reinforces good business ethics. When multiple voices are heard, unethical or unconstructive behaviors are less likely to get traction, and the power of the group holds participants accountable to the established norms—assuming, of course, that those norms and principles have been clearly defined and are universally understood. providing the framework to enable it, implications for the organization’s but once that framework is working the future. Preparing for this work requires To innovate, an organization must build experience for participants is infectious thinking before doing. a culture of innovation systematically and dramatic. People working together and incrementally over time, and that with a sense of play and delight on Perhaps the most significant outcome means keeping the organization in a something they perceive to be both of the ASO’s cultural journey is that it perpetual state of reinvention. Radical important and transformative, will drive has transformed itself into a learning ideas must be the norm, not the innovative practice. organization. It learns from outsid- exception. Having more vision than the ers and peers. It learns from fellow organization can implement is a good In this culture, leaders need to know arts organizations. It learns from its thing. It gives people a framework when to step back and let the process community and its social and cultural for creating new goals and keeps the evolve, giving employees the lati- environment. But most of all it learns organization focused on achievement. tude to find their own solutions while from itself. Readiness and opportunism It is impossible to innovate without first looking for potential obstacles and are key and cherished values. Leaders impediments as well as for opportuni- and others must be ready to learn from ties to accelerate the process. It may any new situation, even if it is negative. look like chaos, but it is not, and it Innovations can and do fail, and it is requires high tolerance and discipline to manage well. Part of that discipline applies to the preparation for the work. This work must be meaningful and purposeful, and participants must believe that what they do will have powerful Fearless Journeys: Innovation in Five American Orchestras Case Study: Atlanta Symphony Orchestra 85

critical for leaders to be able to distill learning even in the midst of discomfort. Spotting these learning moments while the process is unfolding (and translating that learning into action) is The ASO has had great success in an important system skill. Culture must institutionalizing its culture, but it Radical ideas must be constantly nurtured and reignited. knows it faces a multitude of chal- Like a flywheel, collaboration builds lenges. How can it build the idea of be the norm, not the momentum with very small inputs, but a strong collaborative culture into a it can release large amounts of stored brand for the orchestra? How can it exception. Having energy when needed. Institutional better integrate new employees into leaders must know how to spark spon- the culture? How must it balance the taneous brilliance and invite unplanned time required for the group process more vision than the moments of courage. with the demands of fixed deadlines? How can it manage the employee organization workload and maintain a reasonable THE CONTINUING JOURNEY work-life balance? How can it make can implement is a Future Plans and certain that the systems in place for Aspirations managing the organization’s creative chaos don’t become so heavily good thing. The ASO depends on the synergies focused on completing tasks that they embedded in its collaborative culture. result in missed opportunities? Finally, With lots of work to do and many chal- how can it ensure that the culture is lenges ahead, the orchestra’s belief sustainable even when current leaders in the systemic relationship between are no longer with the organization? culture and problem-solving will be What will happen, for example, now continually tested. Giving life to new that Vulgamore has moved on, or when music and space to composers, chal- Spano leaves? It’s a question that wor- lenging and educating audiences ries all institutional leaders. But on this through new program formats, build- issue, there is cause for comfort. When ing its new concert hall, and engaging Vulgamore went on sabbatical for six the city of Atlanta in a multitude of months, she had no contact with the partnerships that would solidify the organization, and the ASO believes orchestra’s role in the community are that as staff and board stepped in to just a few of the tasks ahead. fill the gap created by her absence, the organization became stronger. “Things are sustainable if they transform, change, grow and alter the course,” says Spano. Recognizing patterns that no longer work and letting new patterns emerge perhaps may be the most critical challenge for the ASO. 86

Perhaps the most fundamental characteristic guiding the innovative journeys of the five creative orchestras in this study is their awareness of the need for constant evolution. They know their work is not finished. All five are deeply process-oriented and have improved their capacity to embrace organizational complexity and ambiguity. Functional silos do not—as the road less they once did—define the visioning, goal-setting, decision-making, and implementation activities within their t r a v e l e d : organizations. While functional responsibilities still exist, it is to produce efficiency and accountability. t o w a r d a n e w These orchestras also model organizational approaches that are curious and learning-based, disciplined, and foundation highly intellectual. They have developed new language to describe their work—language that distinguishes their cultures, builds ownership, fos- Building a House of Innovation ters inclusion, and promotes shared understanding. They question closely held and conventional assumptions and they purposefully and intentionally blur traditional roles—which means taking risks. Indeed, risk-taking is fundamental to their strategies, and they invest financial and human resources in experimentation.

All five orchestras pay close attention to internal culture and work consciously to ensure that it enables rather than impedes vision. They think long-term while insisting on prudence in the present. They are flexible, alert to opportunities, and self-aware. They build evaluation criteria and assessment practices into their planning and execution. Above all, they focus on the human factor. The well-being and satisfaction of the organization’s stakeholders are critically important, and while institutional life is intense and demanding, it is also joyful. Fearless Journeys: Innovation in Five American Orchestras The Road Less Travelled 87

THE INNOVATION MODEL House of Innovation

Fearless Journeys: Innovation in Five American Orchestras tells the stories of five orchestras and their successful modeling of new innovative practices. Their innovations originated under ing the artistic agenda. The Saint Paul varied circumstances, sought to affect Chamber Orchestra’s Artistic Planning different areas of orchestra practice, communication—vigorously interac- and Artistic Personnel Committees, followed multiple implementation tive, and aligned and additive in their the Atlanta Symphony Orchestra’s paths, and achieved varied results. views, ideas, actions, and efforts. Even War Room participants, groups of Despite these differences, however, though the roles at the top were dis- musicians in the Memphis Symphony several factors are consistent among tinct, leaders often intentionally blurred Orchestra who took responsibility for the orchestras, and their experiences role boundaries to enhance collabora- community programming, and cross- serve to inform, inspire, and reinforce tion and stimulate input. During this constituent teams tackling specific efforts underway in orchestras across process, each of the top roles evolved tasks in all the orchestras became cru- the country. to become less conventional and more cial contributors to artistic leadership. flexible. Honest about recognizing their The capacity of these organizations The structure of innovation is consis- own limitations, the leadership team to support clearly recognized leaders tent among all the orchestras studied. often brought in external collaborators at the top while creating a more dif- Leadership and vision give shape, pro- who contributed specialized expertise fuse system of inclusive organizational tection, and safety to ground-breaking or academic knowledge. leadership brought substance and sus- work. An open artistic model, prolific tainability to innovative practice. partnerships, and effective integration These leadership teams—the Creative act as supporting pillars. Underlying Leadership Team in Atlanta; Pacific Leadership continuity at the top of the and sustaining it all is a foundation of Symphony’s model of music director, organization was critical to enabling artistic excellence that provides the executive director, and artistic advi- and sustaining innovation in these fundamental strength to think and sor; the Los Angeles Philharmonic’s organizations. The multi-year col- behave in new ways. team of music director, president, and laboration between board leaders, director of artistic planning, for exam- the top executive, and the artistic A Committed Team of Leaders ple—were augmented by sub-groups director(s)—and their shared views of leaders that were integral to advanc- about institutional direction—focused The desire and capacity to lead innovation were central to innovation success in each of the five orchestras House of Innovation studied. The top executive, chairman of the board, and the artistic leader(s) Leadership were key enablers, together forming a powerful triad of architects for devel- Vision oping and realizing innovative design within the organization. This close- knit inner leadership circle shared a common vision and enforced institu- Open Artistic Prolific Effective tional values and artistic integrity with Model Partnerships Integration intent and rigor. They were in constant

Artistic Excellence 88

the orchestra’s innovative artistic Leaders lifted the goals. They focused people on the future—encouraging them to be far- spirits of their people sighted in their outlook while insisting the insight to know when one small that they be efficient and productive in intervention could create an important from daily activities the short term. Leaders lifted the spir- tipping point, and the patience to step its of their people from daily activities away so that others could engage towards aspirations towards aspirations. They conducted more deeply. They possessed deep regular updates on long-term plans to intuition, strong analytical skills, and and strengthened the organizations affirm priorities and maintain momen- an understanding of intended and internally and clarified their identities tum. They skillfully translated abstract unintended consequences. They could or brands externally. Leadership con- concepts into the specific action steps change course when necessary, find tinuity ensured consistent vision and that would lead to dream fulfillment. new strategic paths to get past obsta- execution, careful monitoring and eval- cles (both real and imagined), and uation, and regular adjustments and These leaders were primarily exter- give credit to others for institutional realignment. Continuity for these orga- nally oriented. They monitored, and accomplishments. nizations meant not only that leaders learned from the business environ- had sufficient longevity to understand ment within and outside the industry, Resilience, open-mindedness, self- each other and to work efficiently and considered best practices and confidence, and tolerance for risks together, but also that when leadership innovations in the business environ- were also common traits of these transitions did occur, the organiza- ment for their internal application. leaders. Their passion for and commit- tion knew exactly what it needed to They pushed people to think and learn ment to the institution were essential continue its momentum. Carl St.Clair outside the orchestra’s walls. The to getting others to follow—even when and John Forsyte, for example, have transparency principle guided their there was “too much vision” or when worked together for ten years. Allison leadership actions, and they apprised staff felt as if they were “drinking from Vulgamore led the Atlanta Symphony constituents of information in a timely a fire hose.” Most important, these for 15 years, working with Robert manner, engaging them fully in execut- leaders were fearless; they initiated Spano for the last eight. Esa-Pekka ing the orchestra’s vision. In addition to innovations that departed from and Salonen was music director in Los striving for institutional relevance and often greatly disagreed with industry Angeles for 17 years. Deborah Borda artistic excellence, they used finan- traditions. Assuming, as they did in worked with Salonen for nine years cial forecasting and multiple scenario Los Angeles, that contemporary music and now is carrying that legacy for- considerations to look way ahead to was a taste for the masses was gener- ward in her new relationship with ensure the financial viability of the ally anathema to the industry. Taking Gustavo Dudamel. Bruce Coppock organization. the music outside the MSO’s concert and Lowell Noteboom worked side by hall to teach corporate folks how to These leaders had the ability to side in Saint Paul for nearly ten years, team better or lead more effectively manage complex non-linear processes and they handed off the orchestra’s could have been seen as “corrupting” that involved multiple constituencies. new artistic model to Sarah Lutman the product. Altering performances They had the ability to see the entire and Erwin Kelen without a hitch. in Orange County by adding a rich system, the keenness to recognize context around the music to illuminate Executive Leadership synergies as they emerged, the ability composers’ intentions or historical to create reciprocity within the system, circumstances could have been con- Clear vision and decisive actions were sidered “dumbing down” or selling out. hallmarks of successful executive lead- When the SPCO questioned the role of ers in all five orchestras. The CEO and the mighty music director and distrib- his or her team worked closely with uted responsibility for artistic decisions artistic leaders and with the board to articulate, communicate, and execute Fearless Journeys: Innovation in Five American Orchestras The Road Less Travelled 89

to musicians, there was surprise in the industry. In Atlanta, building a highly inclusive orchestra culture where all involves setting a long-term strategic decisions, including artistic ones, are artistic vision; executing the work by made by cross-constituent teams presenting products and offerings, new might have meant real war in other became forward-looking working and old, that meet the highest artistic places. boards that, while retaining their gov- standards; leading artists by motivating erning responsibilities, engaged with musicians and a variety of collabora- Board Leadership other constituents on specific tasks tors to contribute their best efforts to In each of the five orchestras, the to secure the orchestras’ present and both content and process; inspiring the board was also a critical enabler of transform their futures. They said “yes” entire organization by working closely innovation. Recognizing the wealth of to more work, more time, and larger with the executive leadership team expertise in their orchestras’ board- contributions. and with the board to align institutional rooms, executive leaders challenged practice and artistic vision; and acting board members to step up and play a Artistic Leadership as the orchestra’s ambassador in the major role. They turned to their mem- Because they embody their orches- community by building partnerships bers’ business experiences, financial tras’ core institutional purpose, artistic and raising funds. acumen, organizational skills, knowl- leaders in the five orchestras were Even in the most innovative orchestras, edge of art and history, and advocacy critical to success. These cases clearly very few music directors score high and mentoring capabilities, uncovering demonstrate that the conversation on all the above criteria. In the five previously untapped assets for their around the role of the music director orchestras studied, however, the artis- organizations. The deep involvement increasingly is being invigorated by tic leaders (whether a music director, a of these board members in orchestra significant new experience. Those in team of artistic leaders, or a group of life enabled the organizations to take the industry who believe that the old musicians) shared a complementary smart risks with regard to innovation. model of the strong maestro is on its last legs need only look to the suc- Aside from building a compelling vision cess in Los Angeles to see that the Even in the orchestras for the orchestra and committing finan- model still has vibrant life in it. Those cial resources, these visionary board who believe that decentralizing artis- members understood that innovation with a strong music tic power means the death of artistic in their orchestras was not just nice to quality can turn to Saint Paul for a dif- have but a key organizational asset. As ferent lesson. Two things are certain, director, there was these boards advocated making the however, if the experience of these five orchestras more relevant to the diverse orchestras is indeed representative: a shared view that communities, they began changing The unquestioned vesting of complete their own composition, reflecting a power and authority in a single artistic diverse mix of skills, interests, back- artistic leadership leader is becoming a thing of the past; grounds, and aspirations. When deeply and the lack of a single all-powerful engaged in taking their organizations artistic leader does not signify the lack has become more in new directions, they changed their of artistic leadership. own behaviors. They adopted rigorous complex, requiring operating and governance practices Even in the orchestras with a strong to strengthen their own performance. music director, there was a shared knowledge and skills They transformed themselves from view that artistic leadership has relaxed social groups to responsible become more complex, requiring and active governing bodies. They knowledge and skills beyond music. beyond music In these five orchestras, as in others across the country, artistic leadership is multi-faceted. Good leadership The SPCO performs at 90 Wooddale Church

something much deeper: the desire to rekindle a sense of purpose, relevancy, and artistic achievement. From this search for identity came five compelling, if different, visions—sometimes clear at the outset, sometimes taking commitment to high artistic standards shape over time, but always evolving in and a belief in the responsibility of response to changing conditions and the institution to its community. They increasing knowledge. were, therefore, flexible in how they thought about this relationship, and In these organizations, effective vision- they adapted themselves to an organi- ing did not start and stop at the top, zational vision that asked, “How do we but rather was spread across the create a decision-making model that organization and built into the institu- will serve both interests effectively?” tion’s culture—not serendipitously, The structural answers varied, but but methodically, strategically, and stituents, led to shared responsibility artistic leaders shared several impor- purposefully. Leaders constantly and accountability, and stimulated tant things in common: they involved imagined and re-imagined the vision— positive energy and learning. The others in the discussion of artistic providing strong and powerful images result was a culture of questioning and goals and strategy, programming, and of the future that sparked motivation, inquiry that improved the orchestras’ delivery. They had an abiding respect aligned ongoing projects, informed capacity to imagine and realize their for the audience and the cultural assessment of progress, and spurred long-term aspirations. framework in which their orchestras innovation. Constant envisioning of were working. the future by cross-constituent teams Projecting far into the future was generated positive energy and moti- typically a means of stimulating imagi- Artistic leaders also pushed the bound- vated individual performance. Having nation and liberating participants from aries of the art form—intelligently, a “big vision”—perhaps too big for current political interests or conflicts. rigorously, and without shame—believ- the organization at the time—created The SPCO and ASO, for example, ing that symphonic music is a living, unprecedented synergies among con- envisioned their orchestras’ future as growing and ever-changing body of much as 15 years ahead. The idea of work rather than a static repository of Effective what we want to be became a beacon masterpieces. They believed not only throughout the implementation of in the curatorial responsibility of their subsequent innovative endeavors. work, but also in their responsibility as visioning did In all the orchestras, long-term plan- incubators of discovery. They involved ning, rooted in a clear vision, also creators and other artists in imagining not start and contributed to organizational health what this new art form might look like. and stability, in part because the They believed in learning and in the stop at the top, organizations were clear about what process of discovery through music. the vision would cost and because they committed to ensuring adequate Driven by an Expansive Vision but rather was resources to support the vision. They A deep dissatisfaction with the status used their plans as blueprints for what quo was the motivating factor behind spread across building a compelling and far-sighted vision in these orchestras. Even when the organization organizational dissatisfaction arose from financial distress, it was fueled by and built into the institution’s culture Fearless Journeys: Innovation in Five American Orchestras The Road Less Travelled 91

concert experience for performers and audiences. While implementing vision is never easy, it is first important to put Fueled by an Open Artistic Model words to it. If it can be named, it can be understood. If it can be understood, Each orchestra in this study was driven it can be done. The more people are by an open artistic model. In some able to talk about the vision, the more cases, the orchestras focused on often they do so. The more often changing the artistic decision-making they talk about it, the greater stake process to involve a wider circle of they have in it and the more they feel constituents in the artistic planning and responsible for its success. programming process. At the SPCO, was needed rather than allowing a lack these changes resulted in actual struc- of resources to undermine a compel- An important shift occurred (and is tural changes within the organization ling vision. It was this approach that occurring) in the five orchestras with to give musicians authority over artistic enabled the Los Angeles Philharmonic regard to leadership transitions: they matters, including hiring their Artistic to say, “We simply do not cut identity are becoming much more consciously Partners. The SPCO created a more programming.” Without this inculca- and closely tied to institutional vision. open audition process as well, devel- tion of vision into the organization’s In Atlanta, the search committee oping new ways to identify musicians’ conscious decision-making pro- looked for a music director who would fit with the orchestra. In Memphis, cesses, innovation would never have be a collaborator because it was musicians took charge of designing the taken root. necessary to reinforce the blossom- community engagement programs. ing culture. A decade ago the SPCO How vision was communicated in looked for a leader who would help the In other cases, the structural changes these orchestras is instructive. Strong, orchestra imagine a future based on a were not so dramatic, but the decision- visionary leaders clearly articulated clear set of institutional priorities, and making process changed nonetheless, (through formal and informal channels) when he left, the organization sought linking it carefully to institutional mis- the future in a way that was easy to someone to lead the continuing evo- sion and goals. In Los Angeles, the understand and easy to communicate lution, not to change course. In Los music director programs the season to others. In Memphis, it was respon- Angeles, the transition between music with the president and the vice sible citizenship through “artistically directors was smooth and celebratory president for artistic planning. The engaging community partnerships”— because Gustavo Dudamel was clearly orchestra engages festival curators simple to understand and simple to seen as enriching and continuing the to develop the aesthetic framework explain. In Saint Paul, the orchestra legacy of the past two decades. In for the orchestra’s identity programs. used a framework of “what we play, Memphis, the choice of Mei-Ann Chen Atlanta’s War Room engages as many with whom we play, where we play supports the orchestra’s citizenship as 20 people in an organic conver- and how we play” to redefine itself role. The boards of these orchestras sation aimed at creating a season as “America’s Chamber Orchestra.” have taken increased responsibility program that is both closely related to Again, a simple idea to embrace and for perpetuating the institutional vision the orchestra’s identity and serves a promote. In Atlanta, the War Room rather than ceding it to outsiders or variety of cross-departmental needs. became a clearly understood metaphor newcomers. Musicians, too, are finding Gone are the days in these innovative for total organizational collaboration. In they have an important voice in select- orchestras when the music director Los Angeles and Orange County, the ing leaders who are compatible with orchestras rallied around living artists long-term institutional vision. and unique multi-disciplinary projects to fulfill goals of identity, innovation, and excellence, establishing context for musical ideas, and redefining the 92

delivered a season of programs and inform new artistic activity. The range the rest of the organization busied itself of internal and external influences with selling it. on artistic decisions varied widely, from simple informational input to an Not only did these orchestras develop elaborate process involving multiple new decision-making structures and constituents. But the inclusion of procedures; they also began thinking unusual suspects enlivened the inter- of the core repertoire in more open nal life of all of the organizations and ways. They expanded it to focus broadened thinking among all internal increasingly on contemporary music, constituencies. Thinking about the surrounded performances with contex- contemporary social context for the tual material, and undertook creative orchestra’s work, the composition multi-disciplinary projects that pushed and needs of unique communities, the boundaries of the art form. Pacific the sophistication of audiences, musi- Symphony’s American Composers cians’ preferences, and the challenges One of the critical Festival and Young Composers of marketing and development—all Competition, Atlanta’s Theater of a as part of a conversation about the Concert, and novel projects in Los art—inspired a level of understanding results of this Angeles and Saint Paul brought new and commitment that had not existed meaning to the classical repertoire and previously in the orchestras. Over and new openness enriched the concert experience in over again, people within these orches- unexpected ways. In Memphis, “open” tras report improved job satisfaction appears to be meant thinking about ways to use and an increased sense of ownership the artistic talents embedded in the of the orchestra’s core product. organization for new purposes such the recognition of as corporate training and community One of the critical results of this new engagement. In Saint Paul, the perfor- openness appears to be the recogni- the audience as mance experience for musicians was tion of the audience as central partners expanded, allowing for musician-led in the orchestra’s creative life. The central partners concerts. The critical point is that in all orchestras in this study have changed these orchestras, conventional beliefs their language when talking about about artistic leaderships and deci- their audiences. By thinking of audi- in the orchestra’s sions were questioned, refuted, and ences as intellectually curious, innately significantly changed. The result was adventuresome, and open to experi- creative life new life and energy throughout the organization.

In many cases, these orchestras opened themselves to outside artistic influences—a historian and scholar at Pacific Symphony, corporate curriculum writers in Memphis, composers and other artist curators in Los Angeles, Artistic Partners in Saint Paul—as a way to strengthen and Fearless Journeys: Innovation in Five American Orchestras The Road Less Travelled 93

planning. In Atlanta, the role is increasingly filled by the director of strategic planning engagement. Whatever the mentation, the orchestras themselves structure, however, the integrator was have become more risk-tolerant, armed with real power and influence. allowing them in turn to lead taste and He or she sat at the top table and influence responses from the audience. had access to both information and the organization’s top leaders. The operational needs, but also for sup- Coordinated by an Explicit integrator often was assigned respon- porting people emotionally when the Integrator sibility for new processes (partnership going got tough. development at the MSO) or orga- In each of these five orchestras, more The integrators filled the role of man- nizational structures (the ASO’s War decentralized decision-making led to ager while the chief executive was Room). While the innovation manage- important changes in staffing struc- busy leading. Extremely detail-ori- ment aspect of the role has yet to be ture. The need for accurate and timely ented, they all had strong management formalized, the experiences of these communication, the inclination to think skills, and they knew how to listen orchestras make it clear that the inte- more organically, and the complexity actively and intervene effectively in grator must be in place at the outset of of engaging multiple viewpoints on a times of controversy. They facilitated the innovation process, not brought on variety of issues rendered the historic discussions and helped groups reach for implementation. model of deep functional expertise agreement. They set boundaries that (marketing, fundraising, artistic plan- The innovation czars or, more fre- ensured both individual comfort and ning) obsolete. The orchestras had to quently, czarinas, in these five team effectiveness. think differently about how to create orchestras had to be as fearless and Prolific Use of Partnerships efficiency in a more open model. single-minded as their chief executive Innovation, they learned, required colleagues. Throughout the gesta- These innovative orchestras dem- effective integration across these function and implementation of new ideas, onstrated a strong capacity to build tional silos to ensure the development they had the tough job of making sure creative partnerships with other art- of robust products and processes, that execution was smooth and that ists, arts institutions, academics, as well as the adherence to the core final outcomes were successful. They corporations, educational institutions, mission. were always at the hub of innovation hospitals, and other community organi- activity and, like their bosses, they zations. Partnerships were sometimes The orchestras were successful in had to have the capacity to see the formed through long-term relationships managing innovation because they big picture. Often empowered to make and sometimes arranged to execute recognized the need for someone to decisions, they possessed all the per- specific projects. Some involved coordinate activity, sustain momen- tinent information; disseminated data external collaborators and others tum, and move people and processes and responded to requests; made the internal teams. In all cases, however, forward—and they clearly delegated grand execution plans and assigned the successful partnerships in these this responsibility to a member of the tasks accordingly; fixed glitches and orchestras were reciprocal, based team. In Los Angeles and Memphis made repairs. They connected their on mutual respect and interests, and this became the chief operating officer. orchestras’ discrete departments idea-based. They were established for At Pacific Symphony it was the direc- while seeking constant guidance and cultural and identity purposes, fueled tor of operations. The SPCO relies on approval from the executive leader. by artistic creativity and invention, and its artistic committees whose work is They were both the glue that held the key to helping organizations push past coordinated by the director of artistic work together and the disruptor who kept departmental boundaries perme- able. Often they were described as the go-to person who was responsible for fulfilling the organization’s complex 94

All five orchestras in the study relied on significant education and community- based partnerships to advance their visions. Pacific Symphony’s multi- constraining orthodoxies. Partners faceted education program involves often helped the organizations see local schools, youth orchestras, and how their core artistic values could programs for teachers. Educational be enhanced and clarified through whose expertise lends additional partners work with the orchestra as dynamic collaborations with others. strength to the organization’s planning core partners in developing curriculum, and artistic profile. artistic focus, and outcomes. The Los In all five orchestras, partnerships with Angeles Philharmonic serves 120,000 a wide range of artists and scholars Partnerships with academic insti- children annually, and with Dudamel’s helped shape the direction and execu- tutions, corporations, and media arrival and the founding of the YOLA, tion of artistic projects. Partnering with organizations were also effective for the Philharmonic is on its way to set- collaborators across multiple art dis- these orchestras. The ASO partners ting a new standard for addressing the ciplines stretched the artistry beyond with Georgia State University, the cultural needs of its community and for its traditional boundaries, making the Rialto Performing Arts Center, and engaging young people in the perfor- experience more fulfilling for orchestra the Sphinx Organization to provide mance of classical music. In Memphis, musicians, guest artists and audi- expanded educational opportunities the continuing partnership with ences. The SPCO’s Artistic Partners, for talented young musicians. Pacific Soulsville demonstrates how mentor- the MSO’s work with teaching artist Symphony collaborates regularly with ing and music are powerfully entwined. Eric Booth, Pacific Symphony’s universities to augment its annual fes- In Atlanta, the orchestra’s Talent long-term relationship with Joseph tivals, and it is working to explore new Development Program supports young Horowitz, and the Los Angeles ways in which universities could work African-American and Latino student Philharmonic’s curatorial approach to with the orchestra to educate future musicians through private coaching, its identity programming all demon- audiences, develop theme-based mentoring, and performance. The strate the effectiveness of widening curricula, and serve as incubators of SPCO works with a range of commu- the artistic family. Peter Sellars’ role new strategies and ideas. The SPCO nity groups to offer discount tickets as artist-in-residence in Los Angeles developed substantial partnerships to its performances, and it has an has resulted in four theatrical stage with the University of Chicago and with ongoing partnership with the Jeremiah productions, including the renowned the University of Minnesota, and it has Program, a project committed to Tristan Project. In his new role as cre- an ongoing partnership with Minnesota helping low-income single mothers ative chair, composer John Adams Public Radio. Building creative, artis- complete post-secondary education. will expand the Philharmonic’s artistic tically engaging partnerships with The SPCO offers music education capacity even further. In Atlanta, the corporations was critical to the MSO’s to children, helping non-traditional four composers who participate in the community partnership program, families ground themselves in the rich Atlanta School of Composers play an and its experience with FedEx set a traditions of classical music. integral role in the orchestra’s artistic standard for future collaborations. life, working with staff, artistic leaders, The material developed in partnership Foundation of Artistic Excellence and musicians. The ASO also has an with FedEx gave the orchestra a firm In each of these five diverse cases, ongoing and long-term relationship start on building a corporate training the foundation supporting all innova- with artistic advisor Evans Mirageas, curriculum. tive activity was a devotion to music, a commitment to excellence, and the Partners often helped the organizations desire to be linked with the outstanding tradition of impeccable quality see how their core artistic values could nurtured by orchestras everywhere. To everyone engaged in artistic planning, what happened on stage was the most be enhanced and clarified through important measure of the strength of the orchestra’s creative ideas and dynamic collaborations with others its success in connecting to its audi- Fearless Journeys: Innovation in Five American Orchestras The Road Less Travelled 95

It led to continuity of leadership, longer staff tenures, and easier leadership transitions.

The Road Less Traveled: Choices ence. All five orchestras connected that Make the Difference These orchestras artistic quality to mission—clearly and Throughout their journeys, these five definitively. Their artistic agendas were orchestras made distinct choices. As understood that characterized by virtuosity, innovation, a result, they learned, grew in both and ambition. The orchestras shared a stature and competence, and pro- without a foundation profound understanding that only great jected a stronger identity or brand experiences bring people to the con- to their communities. What did they cert halls, and they opened their eyes learn? Fundamentally, these pioneers built on artistic and ears in the process of discovering agree that building a culture that a new range and diversity of artistic embraces and encourages innovation excellence, meaningful experiences. is slow, hard work. The commitment must be steadfast and the discipline As a rule, these orchestras tended collaboration exact. Leaders must be purposeful to approach traditional works in a and confident. Expectations must be novel way—through contextual pro- clear, and everyone must understand throughout the gramming, festivals, juxtaposition, how they fit into the picture, what their commentary, and other approaches individual and group responsibilities organization would not that helped audiences experience are, and how they can make a differ- masterpieces through a new lens. They ence to the institutional vision. They also commissioned new works and be possible must be engaged in meaningful work. introduced novel inter-disciplinary ele- Having the right people—those who nity’s involvement with the orchestra, ments into their performances. They fit the organization’s culture—is criti- and to the field’s learning. These opened up discussion and decision- cal. Board passion adds great value orchestras demonstrate the critical making to others besides the music to the process of innovation by setting importance of understanding the cul- director, fostering a greater com- high standards, providing resources, tural context in which they work. Their mitment among stakeholders to the helping avoid pitfalls, and focusing the sense of responsibility drives them artistic life of the organization. These organization in both the present and to take risks in the name of greater orchestras understood that without a the future. learning, and careful measuring of foundation built on artistic excellence, outcomes helps them refine strategic meaningful collaboration throughout Constant visioning informs and nur- options. the organization would not be pos- tures innovation. Thinking in broad sible. Working together artistically system-based ways enables quick The most fundamental choice these gave these orchestras a new ability response and meaningful interven- orchestras made was, in fact, to to manage conflict, new pathways tion. Collaborative processes enhance choose. To choose challenging ques- to nurture leadership, and more solid creativity. Musicians and other creative tions over accepted practice. To ownership of the orchestra’s mission. artists are deeply important to the choose bold action over cautious entire process. Without their ownership response. To choose organizational and sincere engagement—regardless integration over functional distinctions. of the role they are asked to play—art- To choose openness over exclusion. based innovation is doomed to fail. To choose to be leaders instead of followers. And to choose new models Innovation must be organic to the over the status quo. For them—and for organization’s vision, and every other orchestras that are in the middle enhancement must add value to the of their own journeys—these choices orchestra’s artistic life, to the commu- are making all the difference. 96 acknowledgements

The League of American Orchestras expresses its appreciation to the many people whose participation and support made this project possible—with particular thanks to project Arvind Manocha, Chief Operating leader Atul Kanagat, author Officer, Los Angeles Philharmonic Lela Tepavac, PhD, and editor Heather Noonan, Vice President, Catherine Maciariello for their Advocacy, League of American Project Steering Committee exemplary work and dedication to Orchestras this project. Ryan Fleur, President and CEO, Jesse Rosen, President and CEO, Memphis Symphony Orchestra League of American Orchestras We especially wish to thank the Robert Levine, Principal Viola, David Snead, Vice President, following individuals at the five Milwaukee Symphony Orchestra / Marketing, New York Philharmonic participating orchestras for their President, Local 8 AFM / League support and time throughout the of American Orchestras Board of Ari Solotoff, Executive Director, entire research process. Directors Portland Symphony Orchestra Arvind Manocha, Chief Operating Steven J. Tepper, Associate Director, Atlanta Symphony Orchestra Officer, Los Angeles Philharmonic Curb Center for Art, Enterprise, and Public Policy, Vanderbilt University Allison Vulgamore, former President Ari Solotoff, Executive Director, and CEO Portland Symphony Orchestra Robert Wagner, Principal Bassoon, New Jersey Symphony Orchestra, Don Fox, Interim CEO, former Steven J. Tepper, Associate Director, League of American Orchestras Board Executive Vice President for Business Curb Center for Art, Enterprise, and of Directors Operations and CFO Public Policy, Vanderbilt University Albert K. Webster, League of American Los Angeles Philharmonic Orchestras Board of Directors Research Advisory Council Deborah Borda, President and CEO Allison Vulgamore, President and Marian Godfrey, Program Director CEO, The Philadelphia Orchestra Arvind Manocha, Chief Operating for Culture, PEW Charitable Trusts, Officer Council Chair

Memphis Symphony Orchestra Alberta Arthurs, League of American Orchestras Board of Directors Ryan Fleur, President and CEO Alan Brown, Principal, WolfBrown Lisa Dixon, Chief Operating Officer Deborah Rutter, President, Chicago Pacific Symphony Symphony Orchestra John Forsyte, President Paul DiMaggio, Research Director, Center for Arts and Cultural Policy The Saint Paul Chamber Orchestra Studies, Princeton University Sarah Lutman, President and Ryan Fleur, President and CEO, Managing Director Memphis Symphony Orchestra Bruce Coppock, former President and Robert Levine, Principal Viola, Managing Director Milwaukee Symphony Orchestra / President, Local 8 AFM / League of American Orchestras Board of Directors Fearless Journeys: Innovation in Five American Orchestras 97

League of American Orchestras Staff Research and Development Department Symphony Magazine Editorial Staff Jeffrey Bladt, Research and Chester Lane, Senior Editor Development Associate Jennifer Melick, Managing Editor Atul Kanagat, former Vice President, Research and Development Robert Sandla, Editor in Chief Elyse Kantrowitz, Manager, Research Ian VanderMeulen, Assistant Editor and Development Jan Wilson, Director, Knowledge Innovation Project Leader Center Atul Kanagat, former Vice President, Research and Development

Innovation Project Executive Editor Judith Kurnick, Vice President, Strategic Communications

Gustavo Dudamel 98

photo credits

Brandon Dill Rat Race Studios contents pages 56, 59, 64, 90 pages 26, 31, 34, 35, 38, 39 Jeff Roffman Ashley Frew pages 72, 78, 79 inside cover Sarah Rubinstein Spencer Gordon, iStockPhoto pages 7, 61, 62, 68, 71 front cover Jose Francisco Salgado Scott Heppell page 45 pages 28, 32 JD Scott Nick Koon page 84 pages 40, 45, 46 Stan Sholik Chris Lee page 53 page 80 Aysha Siddique Bill Lisenby page 74 page 83 Eric Stoner Mathew Imaging page 50 pages 12, 15, 16, 19, 20, 24, 97 inside back cover Andy Templeton page 48 Pacific Symphony pages 10, 42, 43, 44, 45, 47, 54, 87 back cover

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