It is hardly surprising news that, in today’s fragmented performing arts environment, the centrality of the symphony orchestra in the civic world is in severe jeopardy. Certain cities, with a history of important symphony orchestras, have managed to hold onto a share of the cultural limelight—and a share of the monies available to nonprofit arts organizations. But, in all too many cities, the symphony orchestra is the victim of declining ticket sales, declining contributions, and, not at all insignificantly, declining interest from the movers and shakers. It finds itself fighting for its existence and, not infrequently, going quietly out of business.
Some cities still pride themselves on their orchestras, notably those with a strong Germanic tradition in the Midwest, like Cincinnati, Milwaukee, and Chicago, but also such cities as Cleveland, Pittsburgh, Boston, and Philadelphia, where the musical culture was founded on the performances of the local orchestra. The history of these orchestras is long, and they have built up not only a rapport with the city and its surrounding suburbs, but also an endowment that should ensure a continuity of existence. In recent years, however, endowment monies have come under increasing pressure, as costs have increased and orchestras have run large deficits; and it must be said that the managements, not infrequently, have handled their monies badly. American symphony orchestras continue to struggle with these problems, which are only increased by the inexorable movement away from a perceived importance of serious art.
It is therefore refreshing to
