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LISTENERS' BOX
February 28, 2006
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Lisa Hirsch's article on ticket prices and economics of Bay Area performing organizations left out the most remarkable story of all: the grand and generous experiment in first-class, free-admission concerts currently in its second season with the revitalized San Francisco Chamber Orchestra. When Music Director Benjamin Simon and Executive Director Richard Aldag decided in 2004 to convince their Board of Directors to return to Edgar Braun's traditional policy of not charging admission at the concerts, it was a brave step into unknown territory: under Maestro Braun, the SFCO had been putting together concerts on two rehearsals, and funds from the Music Performance Trust Fund covered a majority of the expenses. This time, the productions involved first-class musicians with enough rehearsal time to prepare challenging programs with world-class soloists, and the MPTF was not a contributor.
There were many reasons behind the initiative to offer an admission free season. First and foremost, it is an audience development tool. Classical music needs new listeners, and new listeners need a reason to attend concerts. We were confident that once people heard how exciting our concerts were, and that they were admission-free, they would attend and the word would spread. This has been remarkably successful in a very short time. This is our second season of admission-free concerts, and we are close to filling up Herbst Theater and regularly turn people away from the 750-seat First Congregational Church in Berkeley. Our New Year's Day 2006 concerts in Palo Alto drew so many people that several hunded were turned away.
Second, we wanted to establish a new relationship with our audience. By offering them the music without cost, we felt that our generous offer would be reciprocated by an excited and energized public. Instead of tickets, we sell memberships to the SFCO association. Membership cards give every member a priority seat in the best sections of the halls — the value of this is rising each time we give a concert as the audiences are increasing. Like public radio or the museums, these memberships help us to raise funds without the hassle and expense of selling tickets, and draw our audience members closer to our organization with newsletters, "best of season CDs," invitations to house concerts and special events, and the like. In our first year we had over 120 memberships, and we are on a pace to double that this year. Our goal is to hit 1000 within the next four years.
Thirdly, by making each concert in effect an educational-outreach event to the community, we have made the SFCO more attractive to funders and granting organizations.
I think the word is starting to get around about our unique and extraordinary chamber orchestra. We are adding venues and concerts each season, and have been getting very good notices in the press.
________________Benjamin Simon
(Editor's note: Lisa Hirsch, author of the editorial in question, singled out SFCO's initiative; see here for further discussion.)
I thought [Michelle Dulak Thomson's] essay on understanding "foreign," e.g., not comprehensible, languages was excellent. It included all the various conflicts between wanting to know and not being able to know conclusively — all of which are part and particle of the experience of listening to great music. I once attended a concert of Mahler songs by Thomas Hampson, who stated, at the onset, that we should listen to the music, without trying to understand the German language of the songs, with open ears and hearts to the experience of the total — language and music. I still remember this concert as a high point.
________________John Emmons
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