Americas Symphony Orchestras

G?6am A-M
Grant
America f s Symphony Orchestras

10075^9

[4800266 4787

MAI MAR 1 6 1976
MAI MAY 9 1977

DEC 2 9

1977

AMERICA'S SYMPHONY ORCHESTRAS

SYMPHONY

/

And How They Are Supported

by

MARGARET GRANT

and

HERMAN S. HETTINGER

New York

W-W-NORTON &? COMPANY -INC-
Publishers

"]W. v W^NpiTUN^c COMPANY, INC.
To'Kfth Avenue, New York, N. Y.

First Edition

ri v ,-*' ', ' "',!;'"

PRINTED IN THE UNITED STATES OF AMERICA
f FOR THE PUBLISHERS BY QUINN & BODEN COMPANY, INC.

A a, //. ?** 10073 19 AP'H >40

CONTENTS

FOREWORD ii

jGHAPTER ONE. RISE OF AMERICAN SYMPHONY

ORCHESTRAS 19

Periods of Development. Early Orchestras. America's
First Permanent Symphony Orchestra. Traveling Or-
chestras. Rise of Permanent Orchestras. Major and
Secondary Orchestras Since 1920. The Pattern of
American Symphony Growth.

CHAPTER TWO. FORCES UNDERLYING RECENT

EXPANSION ..... 46

Music Education in the Schools. The Motion Picture
Theater Orchestra. Recorded Music. The Radio. Eco-
nomic Factors. Types of Orchestras.

CHAPTER THREE. ORCHESTRA BUDGETS AND

SOURCES OF INCOME . . 65

Early Orchestra Costs and Income. Rising Budgets of
Major Orchestras During the Twenties. Major Or-
chestra Budgets Since 1928. Trends of Specific Cost
Items. Trends in Income. Expense and Income Trends
of the 'Newer Major Orchestras. Distribution of Ex-
pense and Income. Secondary Orchestra Expense and
Income. Summary of Budget and Income Trends.

5

6 Contents

PAGE

CHAPTER FOUR. PERSONNEL PROBLEMS . . 96

Player and Conductor Costs of Major Orchestras. She
of Orchestra. Length of Regular Season. Major Or-
chestra Personnel Salaries. Supplementary Income for
Major Orchestra Players. Who Are the Orchestra
Players? The Problem of Cost Reduction. Assisting
Artists and Groups. Secondary Orchestras.

CHAPTER FIVE. ORCHESTRA MANAGEMENT AND

OPERATION 121

Basic Organization Major Orchestras. Major Orches-
tra Auxiliary Organizations. The Cincinnati Woman's
Committee. "Friends of the Orchestra." Secondary
Orchestra Organization. Functions of Boards. Duties
of Management. Problems of Symphony Orchestra
Organization. The Larger Function of Management.

CHAPTER SIX. REGULAR SUBSCRIPTION CONCERTS 144

Regular Concert Attendance for Major Orchestras.
Factors Affecting Regular Series Attendance. Hall Ca-
pacity and Design. Days of the Week. Programming*
Guest Artists. Advertising and Promotion. Regular
Series Concerts of Secondary Orchestras.

pHAPTER SEVEN. CONCERTS FOR VARIED AUDI-
ENCES 169

Concert Tours. Popular Concerts. Childretfs and
Youth Concerts. Summer Seasons.

CHAPTER EIGHT. GOVERNMENT SUPPORT FOR

SYMPHONY ORCHESTRAS . 199

State, County, and Municipal Support. The Federal
Music Project. Scope of Federal Symphony Orches-
tra Activities. Partial Sponsorship by Cities and Local
Political Units. Sponsorship of Individual Concerts.
Services Provided. Budgets and Income. Re-employ-
ment of Musicians.

Contents 7

CHAPTER NINE. INCREASING THE OPERATING

INCOME 224

The Market -for Symphony Concerts. Factors Inter-
esting Audiences in Symphonic Music. Musical Pref-
erences. Listening to Symphony Broadcasts. Adapting
Concerts to Public Demand. Channels for Selling
Symphony Tickets. Publicity and Sales Promotion.
Potential Income from Radio and Recordings. Special
Problems of Secondary Orchestras.

CHAPTER TEN. MEETING THE OPERATING DEF-
ICIT 260

Endowment. Maintenance Funds. Government Sup-
port.

ELEVEN. THE FUTURE OF AMERICA'S

SYMPHONY ORCHESTRAS . 272

APPENDIX A. WOMAN'S COMMITTEE FOR THE

CINCINNATI SYMPHONY ORCHES-
TRA (1939-40) 285

APPENDIX B. THE NATIONAL ORCHESTRAL SUR-
VEYNEW YORK . . . .301

APPENDIX C. PROPOSED PLAN FOR THE ESTAB-
LISHMENT OF A FEDERAL BUREAU
OF FINE ARTS ..... 306

INDEX 315

LIST OF TABLES

TABLE fa.\jj*

I. Number of Symphony Orchestras Existing

in 1937 23

II. Major Orchestras and Dates of Origin . 24

III. Number of Broadcasts and Hours of Sym-

phonic Music Originated by the National
Broadcasting Company: 1935-38 . . 55

IV. Average Expense and Income of Various

Classes of Symphony Orchestras . . 72

V. Average Number of Players in Orchestras

of Different Groups: 1938-39 . . . 100

VI. Concerts Given During the Regular Season

by Major Orchestras: 1937-38 . . . 145

VII. Paid Attendance at Major Orchestra Con-
certs: 1937-38 146

VIII. Major Orchestra Regular Concert Series:

1937-38 148

IX. Hall Capacity and Subscription Prices for
Major Orchestra Regular Concert Series:

1938-39

io List of Tables

PAGE

X. Employment in the Federal Music Project:

April i, 1939 208

XI. Number of Performances and Attendance
for the Federal Music Project from In-
ception to April i, 1939 .... 208

XII. Number and Kinds of Concerts of 28 Fed-
eral Music Project Symphony Orchestras:
1938 214

XIII. Number and Kinds of Concerts Given by

28 Federal Symphony Orchestras: 1938 216

XIV. Average Budget of 20 Federal Music

Project Orchestras: 1938 . . . .219

XV. Ten Ranking Composers Preferred by
Grand Rapids and Los Angeles Audi-
ences 233

XVI. Ten Ranking Compositions Preferred by
Grand Rapids and Los Angeles Audi-
ences 234

FOREWORD

THIS volume is the result of a study of the economic
problems of symphony orchestras in the United States
with a view of determining possible ways and means of
improving their financial stability. While the interest in
symphonic music has been growing rapidly, most sym-
phony orchestras lead a precarious financial existence.
In the majority of cases the revenues from ticket sales
amount to little more than half of operating expenses
and the remaining deficit must be met either by income
from endowment, public contribution, or government
subsidy. The financial instability of symphony orches-
tras hampers long-range planning and the attainment of
their full effectiveness in their communities. Conse-
quently, an appraisal of the entire problem of the
support of symphony orchestras is both timely and
interesting.

The survey on which this volume is based was made
possible by a grant from the Carnegie Corporation of
New York. The Carnegie Corporation is not the author,
publisher, or proprietor of this publication and is not to
be understood as approving, by virtue of its grant, any

ii

12

Foreword

of the statements made or views expressed therein. The
project was organized as the National Orchestral Survey
and was under the general supervision of an Executive
Board composed of the following: J. Frederic Dewhurst,
Twentieth-Century Fund, Chairman; Alan Valentine,
University of Rochester; Waldo G. Leland, American
Council of Learned Societies; Morse A. Cartwright,
American Association for Adult Education; Eric T.
Clarke, Association of American Colleges; Robert T.
Crane, Social Science Research Council; Howard
Hanson, Eastman School of Music; Nikolai Sokoloff,
orchestra conductor; and W. Oliver Strunk, Princeton
University,

Many of the data were assembled through question-
naires returned by approximately 150 of the 300 sym-
phony orchestras of various kinds throughout the
country. Much valuable information was obtained by
interview with orchestra managers, boards of directors,
conductors, music critics, educators, musicians, union
officials, and members of sponsoring organizations. For
this purpose visits were made to all the cities having
major symphony orchestras, as well as to many smaller
communities with secondary orchestras. While it was
not possible for the survey to conduct extensive re-
searches into the attitudes of audiences and the general
public toward symphonic music, limited studies were
made by questionnaires distributed to audiences in Los
Angeles, California; Grand Rapids, Michigan; and
Harrisburg, Pennsylvania.

For the purpose of this study symphony orchestras in

Foreword 1 3

""general have been divided arbitrarily upon the basis of
the size of their budgets into two classes: (i) major
orchestras professional organizations with budgets of
$100,000 or over for the regular season; and (2) sec-
ondary symphony orchestras including professional and
semiprofessional organizations with budgets of less than
$100,000. The 16 major orchestras have been further
classified into three subgroups, likewise based upon the
size of their 1937-38 budgets:

r- MAJOR SYMPHONY ORCHESTRAS

\ Group /Budgets $600,000 and over Boston Sym-
*j phony Orchestra, New York Philharmonic-

y* Symphony Orchestra, Philadelphia Orchestra,

rx. Group //Budgets $200,000 to $600,000 Chicago
Symphony Orchestra, Cincinnati Symphony
Orchestra, Cleveland Symphony Orchestra,
Detroit Symphony Orchestra, Los Angeles
Philharmonic Orchestra, Minneapolis Sym-
phony Orchestra, St. Louis Symphony Orches-
tra, San Francisco Symphony Orchestra.
Group ///Budgets $100,000 to $200,000 Indianapolis
f Symphony Orchestra, Kansas City Symphony

1 Orchestra, National Symphony Orchestra,

Washington, D. C., Pittsburgh Symphony
Orchestra, Rochester Civic-Philharmonic Or-
chestra.

The secondary orchestras have also been divided into
three subgroups:

1007349

14 Foreword

Group IV With budgets f 10,000 to $100,000, primarily
professional organizations, such as the Buffalo,
Grand Rapids, Harrisburg, Houston, New
Orleans, and Wheeling orchestras.

Group F With budgets $1,000 to $10,000, chiefly
semiprofessional organizations, such as the
Albany, Charlotte, Fall River, Little Rock,
Spokane, and Vermont symphony orchestras.

Group F/ With budgets less than $1,000, largely ama-
teur, such as Crawfordsville, Indiana; Rox-
borough, Pennsylvania; Terre Haute, Indiana;
and Walla Walla, Washington.

The task of analysis was made difficult in many cases
by the fact that the statistical data returned by the vari-
ous orchestras were by no means uniform in complete-
ness or accuracy. The presentation of the information
was equally difficult in view of the necessity for making
the report useful and interesting to the general public, as
well as to managers and boards who would naturally
expect to find detailed data. For the general reader some
of the statistical chapters, such as Chapter Three, may
have only slight interest, but they are necessary for those
who are concerned with the technical problems of or-
chestra operation. A brief summary has been appended
to Chapter Three for the convenience of those only
slightly interested in the financial details of orchestra
operation.

The authors are indebted to an Advisory Committee
of the Board including J. Frederic Dewhurst, Eric T.
Clarke, Robert T. Crane, and W. Oliver Strunk, for

Foreword 15

valuable advice and guidance during the course of study.
The survey is further indebted to a large number of
those who are active in the symphony orchestra field,
particularly to the managers of the major symphony
orchestras whose co-operation involved not only the
laborious task of preparing long and detailed historical
and statistical data, but also the contribution of a great
deal of their time for interviews and advice. Special
thanks are due to Arthur J. Gaines of the Minneapolis
Symphony Orchestra, George E. Judd of the Boston
Symphony Orchestra, Arthur Judson of the New York
Philharmonic-Symphony Orchestra, Arthur M. See of
the Rochester Civic Music Association, and Henry E.
Voegeli of the Chicago Symphony Orchestra. Harry
Hewes of the Federal Music Project was most helpful
in providing information regarding the symphony or-
chestras of the project. William A. Derstine has also
given very valuable advice and assistance. Much of the
value of this survey is due to Mary R. Paton, research
associate of the National Orchestral Survey, who gave
invaluable assistance in the planning and execution of
consumer aspects of this study, in the development of
the orchestra questionnaires, and in the general work of
statistical analysis.

Margaret Grmt
Hermm S. Hettinger

NEW YORK, N. Y.

AMERICA'S SYMPHONY ORCHESTRAS

ONE

RISE OF AMERICAN SYMPHONY
ORCHESTRAS

SYMPHONIC music has attained a high estate in the cul-
tural and recreational life of the United States and is
constantly and rapidly widening the extent of its appeal.
Despite the myriad competing interests it is strengthen-
ing its claim upon our leisure time. The most striking
manifestation of its present importance is,th^ f existence
in this country of 16 major symphony orchestras, most
of them equal and several of them superior to the best
in Europe. Indeed, no other country has as many first
rank orchestras, either t in absolute numbers or in rela-
tion to its population/These 16 orchestras have annual
budgets ranging in 1937-38 from $120,000 to about
$750,000 and aggregating about $5,000,000. During their
regular season they gave 1,300 concerts at which the
total annual attendance was about 2,750,000 persons. In
addition, a number of these orchestras have series of
summer concerts at which a single audience may num-
ber 20,000 paid admissions as at the Lewisohn Stadium
Concerts of the New York Philharmonic-Symphony So-
ciety and the Hollywood Bowl Concerts of the Phllhar-

19

20 America's Symphony Orchestras

monic Orchestra of Los Angeles. Free summer concerts,
such as the Esplanade series in Boston, or those in Grant
Park, Chicago, have even larger audiences.

Further evidence of the place held by symphonic mu-
sic lies in the 250 or more lesser symphony orchestras
of professional or semiprof essional status in communities
of every kind and in the 3 0,000 * amateur orchestras
in schools, colleges, and conservatories throughout the
country. Each of these orchestras gives from 2 or 3 to 9
or 10 concerts a year to a vast audience. This large-scale
development of popular support and participation in
symphony orchestra activities is unparalleled and, com-
bined with the number of major orchestras, lays a firmer
basis than chauvinism for the claim that the United
States is the most symphony-loving nation in the world.

Symphonic music, furthermore, is reaching an ever
wider public through phonograph records and radio
broadcasting. It has been estimated that in 1938
about 3,500,000 classical recordings were sold, a large
proportion of these being symphonic. The Sunday after-
noon broadcasts of the concerts of the New York Phil-
harmonic-Symphony reach an audience estimated at 9 to
10 millions. The NBC orchestra, with Toscanini con-
ducting, and the Ford Hour reach a somewhat smaller
number. The broadcasts of the principal orchestras on
the Pacific coast sponsored by the Standard Oil Com-
pany of California are extremely popular. The availabil-
ity of such fine music through records and radio has

1 Estimate by Joseph E. Maddy, President of the National Music
Camp, Interlochen, Michigan, and Professor of Radio Music In-
struction, University of Michigan.

Rise of American Orchestras 21

been regarded by some as a deterrent to attendances at
concerts. On the contrary, there is considerable evidence
that these media have created wider interest in sym-
phonic music and have contributed to the growth in the
number of symphony orchestras and the size of their
audiences.

More than four-fifths of our present orchestras of all
types have been established since the close of the World
War, over half since 1929. Paradoxical as it seems, the
greatest growth occurred during the most severe years
of the depression. Indeed, the vitality of interest in sym-
phonic music was clearly demonstrated during those dif-
ficult yearsxNo major symphony discontinued opera-
tion; some major orchestras had larger attendance and
ticket receipts for their regular seasons in 1932-33 than
in 1928-29; others dropped only slightly in ticket re-
ceiptsthe New York Philharmonic, for example, 5 per
cent; the Chicago Symphony, 16 per cent; the Cincin-
nati Symphony, 17 per cent.

In spite of their vitality, growth in numbers, and the
volume of their attendance, all symphony orchestras are
facing serious financial problems and their future rests on
an unstable basis. Receipts from tickets have never been
enough to balance the costs. Among the major sympho-
nies, the three most successful earn only an average of 85
per cent of their total budgets, while others earn less than
half, and the whole group averages about 60 per cent.
The operating ratios of the secondary orchestras exhibit
about the same range. All, therefore, have had to resort
to various kinds of deficit financing. The major orches-
tras are dependent upon one or more kinds of non-

22 America's Symphony Orchestras

operating income annual maintenance funds provided
through popular subscription, income from endowment,
or some form of state or municipal subsidy. Endowments
are becoming more difficult to build up and the income
therefrom has been found uncertain when most needed
in depressions. Annual maintenance fund drives are find-
ing fewer large donors and are reaching out for more
contributors of small sums. Subsidies have been little
tried in this country and involve many problems. If sym-
phony orchestras are to remain as permanent assets in
our culture, it becomes worth while to consider care-
fully the forces which have underlain their development,
the place they occupy today, the manner in which their
financing problems have been met in the past, and the
possibility of improving and stabilizing their economic
status.

Periods of Development

Although the development of symphonic music in the
United States has exhibited its more spectacular phases
during the last twenty years, its roots go deep into the
past. The establishment in 1842 of the New York Phil-
harmonic Society, the oldest symphony orchestra in this
country and one of the oldest in the world, was preceded
by more than a century of active interest in instrumental
music and was followed by fifty years of pioneering and
foundation laying. During the whole preliminary period
up to 1900, as shown in Tables I and II, 13 of the sym-
phony orchestras now in existence 7 major and 6 sec-
ondary orchestras had been founded. Then followed

Rise of American Orchestras 23

three fairly distinct periods, each representing an accel-
erated tempo of development. From 1900 to 1920, 29 or-
chestras, 6 major and 23 secondary, were organized. The
next decade produced 55, only 2 of which rank as major
orchestras; 2 and finally the decade since 1930 has wit-

TABLE I. NUMBER OF SYMPHONY ORCHESTRAS a EXIST-
ING IN 1937 (PERIOD FOUNDED AND SIZE OF CITY)

Known Founding Date

Size of City:
1930 Population

Pounding
Date Un- ^
H knoivn Q

1900-1920

|

1930-1937 \

Metropolitan districts over
1,000,000 population . . .
Cities 500,000 to 1,000,000 .
300,000 to 500,000

87

9
i?
15
4 1
3
39

238

I
I
I

8
ii
16

57

6

2
I

2

2
13

15
I

3

i

4
i

4
2 9

16

4
3
6

12

8
6

55

3 1
3
8
6

10

ii

200,000 to 300,000

100,000 to 200,000

50,000 to 100,000

Under 50,000

Total

Figures do not include orchestras supported entirely by the Fed-
eral Music Project, but they do include orchestras sponsored jointly
by the Project and the community. Yearbook figures probably cover
90 per cent of all existing orchestras; on this basis (including 36 Fed-
eral Music Project orchestras in 1939) the total number of symphony
orchestras in the United States in 1939 can be estimated at about
300. Discussion in the historical chapters is necessarily based on sta-
tistics of orchestras existing in 1937, since data regarding those estab-
lished and discontinued before that date are meager.

a Source: Music Year Book, Pierre Key Publishing Co., New York,
1938.

2 Including the Pittsburgh Symphony Orchestra revived as a new
organization in 1926.

24 America's Symphony Orchestras

nessed the formation of 84 orchestras, 8 or nearly as many
as were founded during the entire previous century.

TABLE II. MAJOR ORCHESTRAS AND DATES OF ORIGIN a

New York Philharmonic b 1842

Symphony Society of New York b 1878

St. Louis Symphony Orchestra 1880

Boston Symphony Orchestra 1881

Chicago Symphony Orchestra 1891

Cincinnati Symphony Orchestra 1895

Philadelphia Orchestra 1900

Minneapolis Symphony Orchestra 1903

San Francisco Symphony Orchestra 1909

Cleveland Orchestra 1918

Detroit Symphony Orchestra 1919

Philharmonic Orchestra of Los Angeles c 1919

Pittsburgh Symphony Orchestra d 1926

Rochester Civic-Philharmonic Orchestra 1929

Indianapolis Symphony Orchestra 1930

National Symphony Orchestra, Washington, D. C. . . 1931

Kansas City Philharmonic Orchestra 1933

a The dates listed are those claimed by the orchestras In question.

b la 1928 the New York Philharmonic Society and the Symphony
Society of New York were merged.

c Replacing the Los Angeles Symphony Orchestra, founded 1897.

d Tnis was preceded by an orchestra, founded In 1895 and discon-
tinued in 1910, which was one of the important orchestras of its
time.

Until 1920 symphony orchestras were located princi-
pally in the leading centers of population and trade, 2 1
in metropolitan districts of a million or more population,
14 in cities between 100,000 and 1,000,000, and 7 in
smaller communities. Since then an increasing number

8 Not including 36 WPA orchestras.

Rise of American Orchestras 25

and proportion have been formed in the smaller cities.
Even now, all of the major orchestras and 58 per cent of
all orchestras, are found in communities of 300,000 pop-
ulation and over. It must not be forgotten, however, that
the 42 per cent in cities of less than 300,000 represent
an aggregate of 125 symphony orchestras, the majority
of which have been established within the last twenty
years.

Early Orchestras

' The early orchestras in this country were closely asso-
ciated with the activities of opera companies, choirs,
and oratorio societies. Probably the first "orchestra" in
the colonies was that which accompanied a performance
of the Beggar's Opera in New York's Nassau Street
Theater in 1750. Orchestras thereafter were enlarged
and improved as English ballad opera became more pop-
ular and successful and as the formation of many ora-
torio societies to perform such works as The Creation and
The Messiah gave new prominence to instrumental ac-
companiment. As late as 1839, however, orchestras still
were used primarily for accompaniments. Instrumental
concerts were rare, and the Boston Musical Magazine of
that year stated that ". . . Instruments and instrumen-
tal music are as yet very little understood, and conse-
quently not properly appreciated in this country. And
the reason is plain. First-rate performers can do much
better by remaining in Europe." 4

4 Frederic Louis Ritter, Music in America (New York: Chas.
Scribner's Sons, 1883), p. 237.

z6 America's Symphony Orchestras

A few European musicians, nevertheless, had already
made a mark upon the musical life of the country and as
the opera, the theater, and the expanding activities of
musical societies provided employment an increasing
number of competent musicians were attracted from Eu-
rope. One of the earliest and most important of these was
Gottlieb Graupner, an oboist who had played under
Haydn in the Solomon Concerts in London. He settled
in Boston, in 1798, where he kept a music store with the
best music, and gave lessons. In 1810, he formed the
Philharmonic Society, the first group of professional and
amateur players in Boston that could be called an or-
chestra. The Philharmonic Society was not supported by
the general public. Members were admitted by ballot
and paid $10 annually; concerts were open only to in-
vited guests. The orchestra numbered 16 pieces upon
the occasion of its last concert in 1824.

In 1815 Graupner was instrumental in establishing the
Handel and Haydn Society, a choral organization com-
posed of amateurs grouped about a nucleus of two score
professional musicians. This society became one of the
most important musical forces in New England. In its
first year it presented a concert composed of the first
part of Haydn's Creation and selected works of Handel
and was assisted by an orchestra of 12 pieces and an or-
gan. In 1823 it requested Beethoven to write an oratorio
suitable for its use, but, although Beethoven considered
the request important enough to be recorded in his note-
book, the oratorio was never written.

In the meantime, many other musical societies sprang
up. New York, for example, had its Philharmonic So-

Rise of American Orchestras 27

ciety formed in 1800, re-established in 1820, and contin-
uing until the organization of the New York Philhar-
monic Society in 1842. Baltimore boasted a Harmonick
Society, founded in 1809. The Musical Fund Society of
Philadelphia was formed in 1 820. It built jhe Music Fund
Hall in 1824, established an Academy of Music for the
purpose of granting degrees, and for a while maintained
both a chorus and orchestra. In 1821 it included Bee-
thoven's First Symphony on one of its programs. A
Haydn Society was formed in Cincinnati in 1819, a Phil-
harmonic. Society in Bethlehem in 1820, and a Beethoven
Society in Portland, Maine, in 1821.

Fairly large orchestras were occasionally brought to-
gether at the concerts of these societies. A concert by
the New York Sacred Music Society, in 1834, included
a 42 piece orchestra composed of 14 violins, 3 violas, 4
cellos, 3 double bass, 3 flutes, 4 clarinets 2 to take the
oboe parts 3 horns, 2 each of bassoons, trumpets, and
trombones, and drums. In 1836 the annual concert of the
Musical Fund of New York, composed of professional
musicians, had a somewhat similar orchestra of 38 pieces.
The Euterpean Society was one of the earliest groups
composed entirely of instrumental musicians and was in-
directly the predecessor of the New York Philharmonic
Society. In its concert of June 30, 1839, the orchestra
consisted of 42 pieces, including 2 oboes. Thus, at last,
emerged a complete symphony orchestra of tolerably
good proportions.

The Boston Academy of Music was founded in 1833
and gave regular orchestral concerts for several seasons
with an orchestra ranging from 25 to 40 pieces. It intro-

28 America's Symphony Orchestras

duced the symphonies of Beethoven to New England,
playing the First and Fifth during the first season. In
1837 the Harvard Musical Association was also estab-
lished. Although Boston had had several short-lived or-
chestras, the Orchestral Society, which gave its concerts
under the auspices of the Harvard Musical Association,
was the first to survive a number of years. The associa-
tion presented several orchestral concerts annually, but
the orchestra was still by no means a permanent organi-
zation and the musicians depended on employment in
the local theaters. Concerts, therefore, were given hap-
hazardly, mostly in the afternoons. It was not until 1865
that the association attempted to establish a regular series
of six concerts in order to give the men a sort of guar-
anty for their services. Thus the association began to
take on some of the characteristics of the present-day
sustaining organizations which promote the support of
permanent orchestras.

America's First Permanent Symphony Orchestra

The decade 1840-50 brought the formation of Amer-
ica's first permanent symphony orchestra, as well as the
early traveling symphonic orchestras which did so much
to spread musical knowledge, improve taste, and inspire
emulation throughout the country.
' By 1842 the opera, theater, and the various musical
societies had developed a sufficient number of profes-
sional musicians in New York to warrant the formation
of a permanent orchestra. 11 On April 2, a meeting was
,called at the Apollo Rooms "For the purpose of consid-

Rise of American Orchestras 29

ering the possibility of forming a society of professional
musicians residing in the city, having for its object the
advancement of instrumental music, and the perform-
ance of a number of concerts each year, to be of a higher
order than anything that had ever been given in the
city." 5 The society gave its first public concert on
December 7, 1842. The program included Beethoven's
Fifth Symphony, von Weber's overture to Oberon, and
a scene from Beethoven's Fidelio. Three concerts were
given the first season. Then followed 16 seasons with 4
concerts each and 9 seasons with 5. In 1869 the number
of concerts was raised to 6 per season.

The society began as a co-operative venture in that it
was democratically controlled by the members'who en-
gaged the conductor, hired the hall, and, in lieu of sal-
aries, divided the net proceeds after the season's expenses
were paid. Members were admitted only upon a two-
thirds favorable vote; they were required to pay an ini-
tiation fee of $25 and an annual tax of $3. Various regu-
lations and fines governed attendance at rehearsals, the
hiring of substitutes, and similar matters. For the first ten
years the number of players ranged from 50 to 67. Dur-
ing the second decade the orchestra grew to about 80
members and finally by the third decade it had a mem-
bership of 90 to 100.

During the first season of the society the total surplus
was $1,462, while the individual member's share was $25.
By 1898 the ^individual member's share amounted to
about $380, but after 1900 the concert seasons consist-
ently showed a deficit. The democratic control of the

5 Ritter, op. cit., p. 267.

30 America's Symphony Orchestras

society continued until 1909 when it was reorganized
with guarantors, who pledged themselves to make good
the deficit, and with the management in the hands of
those financially responsible. Thereafter the members re-
ceived salaries and were able to devote virtually all their
time to the work of the orchestra.

Traveling Orchestras

In the meantime several foreign orchestras had visited
this country. The earlier groups had presented, princi-
pally, novelties and dance music, but the Germania Or-
chestra, composed of 24 able young musicians who had
found the unsettled conditions in Germany in 1848 not to
their liking, Jwas the first foreign orchestra of fine qual-
ity to tour tne country^ The Germanians landed in New
York on September 28, 1848, and gave their first concert
on October 5. During the next 5 weeks their 20 con-
certs in New York and Brooklyn were so discouraging
that they might have had to disband if the New York
Philharmonic Society and a group of interested amateurs
had not given them a benefit concert. Even more dis-
couraging was a visit to Philadelphia where a concert on
New Year's evening yielded a revenue of only $9.50 to
meet a $10 rental of the hall. The tide turned with a
profitable engagement in Washington and 10 very suc-
cessful concerts in Baltimore. Finally after a series of
performances in various New England cities, the orches-
tra made its debut in Boston on April 14, 1849, where it
immediately became a sensation. While it continued to

Rise of American Orchestras 31

travel extensively, its headquarters remained in Boston,
the scene of its greatest triumphs.

The influence of this orchestra was great. It brought
music of high quality to many communities for the first
time and .gave many Americans a new standard of per-
formance* During the six years of its existence the or-
chestra visited practically every important city in the
United States. /It accompanied Ole Bull and Jenny Lind
on tour and gave a series of summer concerts at Castle
Garden in New York and at Newport. Furthermore,
when the orchestra disbanded its members became lead-
ing musical figures in a number of communities. Carl
Bergmann, leader of the orchestra, was for more than a
decade conductor of the New York Philharmonic So-
ciety. Carl Zerrahn became conductor of the Harvard
Musical Association concerts, presided over the Handel
and Haydn Society, and for thirty years conducted at
the Worcester (Mass.) Music Festivals. For several dec-
ades, here and there throughout the country, other
"Germania" orchestras were established by musicians
who had fled the Fatherland and emulated the first
Germania Orchestra.

/M. Jullien appeared upon the New York scene in
1853. Although he was criticized as excessively theatri-
calhe had a jeweled baton, white gloves, and a carved
armchair decorated in white and gold from which he
conducted, facing the audiences-he was a good conduc-
tor and the quality of his concerts was a revelation to
many Americans. He brought with him from Europe an
orchestra of 40 or 50 players, including some of the
finest performers of the day. In New York, the orches-

32 America's Symphony Orchestras

tra was augmented to 90. He was the first to introduce
programs devoted to the works of a single composer,
such as a Beethoven or a Mozart program, and he
shrewdly championed the cause of native American com-
posers, notably of H. W. Fry, then critic on the Trib-
une. 3VL Jullien and his orchestra gave concerts to large
audiences in all the principal cities and during his short
stay in this country stimulated a great deal of interest in
orchestral music/

Still more notable in the development of musical taste
and interest in America was Theodore Thomas, whose
influence as the leader of a traveling orchestra and later
as the conductor of two of the great permanent orches-
tras probably remains unsurpassedl He came here from
Germany as a boy of ten and began a musical career at
an early age. In 1864 he assembled an orchestra and be-
gan giving concerts in New York in lively competition
with the Philharmonic Society. The results for both or-
chestras were enlarged and improved personnel, more
varied and interesting programs, and finer performances.
In order to keep his men together and have better con-
trol over the orchestra, Thomas inaugurated a series of
summer concerts in 1866 at Terrace Garden where re-
freshments were s&rved and symphonic fare was leavened
with lighter music. By 1867 the orchestra was a "perma-
nent" organization with the men guaranteed a full sea-
son's work.! The financial stability of the enterprise was
further improved by the winter tours which Thomas be-
gan in iStfpXThese tours acquainted a rapidly growing
public with good music and without doubt inspired the
formation of several of the local orchestras which sprang

Rise of American Orchestras 33

up a few years later. Moreover, Thomas was a fine musi-
cian and good showman, a champion of new music and
American composers, and his programs set a progressive
example which broadened the repertoire and improved
the performance of other orchestras.

In 1877-78 Thomas became conductor of his former
rival, the New York Philharmonic Society. In 1879, after
a short absence as director of the newly created Cincin-
nati College of Music, he returned to the Philharmonic
and remained as its director until he went to conduct the
new, permanently organized Chicago Symphony in the
season of 1891-92.

Traveling became an important activity of several of
the orchestras permanently established in different cities./*
"Theodore Thomas continued to be one of the leaders in }
this field, taking the Chicago Symphony Orchestra on an
annual tour, principally throughout the Middle West.
The tours of Dr. Leopold Damrosch and, later, of his
son, Dr. Walter Damrosch, with the New York Sym-
phony covered almost the entire country and undoubt-
edly were one of the most important influences in the
creation of widespread interest in symphonic music.
Victor Herbert, with the early Pittsburgh Symphony,
and Emil Oberhofer, with the Minneapolis Symphony,
likewise contributed a great deal through their tours.

Rise of fermment Orchestras

The major orchestras whicfi began to appear in the
last quarter of the nineteenth century had fairly full
symphonic instrumentation. They were entirely prof es-

34 America's Symphony Orchestras

sional, although the seasons were short and the men de-
pended on other engagements for the greater part of
their income. Gradually the orchestras grew in size and
the season schedules became more and more ambitious.
The New York Symphony, for example, during its first
5 seasons, 1878 to 1883, had 70 players and played a total
of 64 public appearances 30 regular and 2 special con-
certs, each with a public rehearsal. 6 The St. Louis Sym-
phony began its concerts in 1 88 1 as the St. Louis Musical
Union with 54 players and gave 6 concerts a season for
the first 9 years. The Cincinnati orchestra began in 1895
as a group of 48 giving 3 concerts. The personnel was
increased to 70 for the second season but reduced to 60
during the third where it remained for several years. Be-
ginning with the second year 10 pairs of concerts were
given each season for about 15 years/ The Pittsburgh
Symphony began in 1895 with 20 concerts. By its third
season the personnel numbered 60. In its fifth year the
orchestra was increased to 70, while its season included
56 regular concerts in its home city and 27 out-of-town
and special concerts. The Los Angeles Symphony Or-
chestra began in 1897 with about 40 members giving 6
concerts on a co-operative basis with a split of about 50
cents per concert for each member for the first few
concerts.

Although attempts had been made to assure some de-
gree of stability for the St. Louis orchestra by collecting
a guarantee fund of $8,000 at the time of its organiza-

6 The public rehearsals, which were given by a number of the
orchestras in their early seasons, later became the second series of
regular concerts given in pairs.

Rise of American Orchestras 35

tion and, the Cincinnati orchestra began with a fund of
$15,000, the Boston Symphony, founded in 1881, and
the Chicago Symphony, established 10 years later, were
the first examples of permanent orchestras launched on
an ambitious scale with substantial financial guarantees
and the men assured of regular season salaries. The Bos-
ton Symphony consisted originally of 67 members and
gave 40 performances during its first season 20 concerts
and 20 public rehearsals. This was made possible by
Henry L. Higginson, who formulated the plan for the
establishment of a fine orchestra with salaries sufficient
to permit the men to give all of the time needed for re-
hearsals and concerts; He undertook to provide about
$50,000 annually to cover the estimated deficit of a
budget totaling about $115,000 per year* Mr. Higginson
was thus the first "angel" or individual donor assuming
the full responsibility for the development of a sym-
phony orchestra.

The Chicago Symphony began under the conductor-
ship of Theodore Thomas, with 86 men engaged for 28
weeks and giving 20 weekly pairs of concerts during the
season at a total cost of $129,000. Although the organi-
zation of the Chicago orchestra was due very largely to
the enthusiasm and executive ability of one man, Charles
Norman Fay, the venture was guaranteed at first by con-
tributions of $1,000 each pledged by 50 of Chicago's
prominent citizens. The Boston and Chicago orchestras
thus typify the two kinds of plutocratic support indi-
vidual and group sponsorship which characterized the
development of the major orchestras. Individual sponsor-
ship has occurred in only a few cases. In 1914 Harry

36 America's Symphony Orchestras

Harkness Flagler personally- assumed the entire financial
burden of the deficit of the Symphony Society of New
York after the orchestra had experienced a long period
of group support. In 1919 William Andrews Clark, Jr.,
undertook the sponsorship of the Philharmonic Orches-
tra of Los Angeles with the intention of creating there
as fine an orchestra as existed. The new organization re-
placed the Los Angeles Symphony Orchestra which had
done good work in the face of many difficulties since

The day of the incjividual sponsor willing and able to
assume the whole responsibility for deficits ranging from
about $50,000 in Boston to $200,000 a year in Los An-
geles has passed. Although the Symphony Society of
New York and the Philharmonic Orchestra of Los An-
geles continued under the support of Mr. Flagler and
Mr. Clarke for a number of years, by 1918 the destinies
of the Boston Symphony were taken over by a group of
nine prominent Bostonians. In the meantime the other
major orchestras were sponsored by limited groups of
wealthy persons, among whom a few were conspicu-
ously generous. The original Pittsburgh Orchestra was
launched with a group of 25 public-spirited citizens
guaranteeing the first 3 years, and later with a consider-
ably larger number contributing until the orchestra was
discontinued in 1910* The Cincinnati orchestra deficits
were covered in the early years by a growing list of sub-
scribers and it was not until 1928 that Mr. and Mrs.
Charles Phelps Taft offered the million-dollar endow-
ment for an Institute of Fine Arts, one of the principal
purposes of which was to continue the orchestra, on con-

Rise of American Orchestras 37

dition that $2,500,000 be raised by public subscription.
The Minneapolis orchestra was founded with 50 men
guaranteeing $30,000; the Philadelphia Orchestra with
$15,000 raised from 120 people. The Cleveland Orches-
tra likewise was sponsored by a group, the Musical Arts
Association, but in 1928 received $1,000,000 from John
L. Severance to build a hall. 7

With financial sponsorship assured, the principal or-
chestras were able to enlarge their personnel, engage the
men for the season on weekly salaries, and establish regu-
lar series of concerts. By 1914 the^to major symphony
orchestras 8 averaged 83 members arid ranged from 70 in
San Francisco to 90 in Chicago, 95 in the New York
Symphony, and 97 in the Boston Symphony. The aver-
age concert season comprised 88 performances 50 in
the home city, 38 on tour though there was a wide
variation among orchestras. San Francisco, for example,
had ii concerts and Los Angeles 16, while the Boston
Symphony Orchestra gave 128 performances 48 regu-
lar concerts, 10 weeks of "pops," 70 out-of-town en-
gagements, and extra concerts. The Minneapolis Sym-
phony Orchestra claimed the record for 1914, giving 36
concerts at home and 146 on tour. The New York Sym-
phony gave 48 regular concerts, 50 additional local con-
certs, and 54 on tour, a total of 152 performances.

The regular season for these orchestras ranged from
21 weeks in St. Louis to 30 in Boston, with 10 additional

7 By the time the hall was built Mr. Severance's contribution had
grown to over $2,000,000.

8 Henry B. Baerman, "American Symphony Orchestras, 1913-1914
Season," Musical Courier, February 10, 1915.

38 America's Symphony Orchestras

weeks for "pop" concerts, and averaged 26 weeks. In
the year 1914 the 10 then major orchestras gave a total
of 384 concerts on tour. These tours constituted an
important source of income for 6 of the 10 orchestras,
and in addition greatly increased interest in symphonic
music and created support for the many local orchestras
which sprang up later on.

As orchestras improved in technical skill and audiences
grew in their knowledge and appreciation of symphonic
music, the repertoire increased in variety and quality.
In 1880 Beethoven ranked first and represented approxi-
mately one-quarter of the music played at symphony
concerts, followed by Wagner, Berlioz, Schumann,
Liszt, Mozart, Schubert, Mendelssohn, and Brahms, in
order. 9 The programs usually included, at most, one full
symphony with several lighter compositions, frequently
of a nature that would be considered too light even for
present-day "popular" concerts. In 1920 Beethoven still
ranked first but represented about one-eighth of the or-
chestral repertoire. In view of the increased number of
concerts, however, his music was undoubtedly being
performed more widely than ever before. His relative
decline was due to the growing popularity of an increas-
ing number of composers, among whom the most im-
portant were Tschaikowsky, Brahms, Franck, Dvofak,
Rachmaninoff, Richard Strauss, Bach, Sibelius, Debussy,
Elgar, Mahler, and Ravel. While several composers of
the earlier period, notably Wagner and Mozart, still re-
tained their popularity, Mendelssohn, Schumann, and

9 John H. Mueller and Kate Hevnor, A Survey of Trends in Musi-
cal Taste, New York Times, X, p. 7, February 27, 1938.

Rise of American Orchestras 39

Schubert were played less frequently, and others, such
as Raff and Spohr, had virtually disappeared. In addition
to the widening repertoire, by 1920 full symphonic
works had replaced to a considerable extent the lighter
compositions found on the orchestra programs of earlier
periods.

With larger and more permanent orchestras composed
of professionals, longer seasons, more concerts, wider
and better repertoires, and increased touring by a greater
number of organizations, the cornerstone of American
symphony orchestra development had been laid. As evi-
dence of our symphonic maturity, in 1920 the first
American symphony orchestra, the Symphony Society
of New York, toured Europe with notable success. By
this time there were also indications of the coming
growth of secondary orchestras.

Major md Secondary Orchestras Since 1920

During the period from 1920 to the present time, 5
new major symphony orchestras were organized: the
National Symphony Orchestra of Washington, D. G,
the Pittsburgh Symphony Orchestra, the Indianapolis
Symphony Orchestra, the Kansas City Philharmonic Or-
chestra, and the Rochester Philharmonic and Civic .Or-
chestra. Equally important, however, was the marked
expansion in number and variety of services offered by
both the old and the newly established major orchestras.
Whereas in 1914 the 9 major orchestras, for which com-
parable data exist, were giving an average of 44 concerts
in their home communities, by 1937 t ' ie average had in-

4O America's Symphony Orchestras

creased to 72. Although the orchestras were touring less
than formerly, many of them had initiated series of con-
certs for children and had added or expanded their sum-
mer concert schedules. While the size of the orchestras
had increased very little, higher average salaries for the
players and larger total budgets went hand in hand with
a continuous improvement in the quality of the orches-
tras. Although a few outstanding individual gifts were
made to one or two orchestras, the financial support of
the major symphony orchestras was drawn more and
more from the community as a whole. Maintenance
funds provided by thousands of small contributors to a
considerable measure supplemented deficit financing by
a single donor or small group.

The outstanding characteristic of the period since
1920, however, has been the establishment of 134 of the
secondary orchestras in operation today, The 55 that
emerged during the economic boom of the twenties are
much less surprising than the 84 founded during and
since the depression. Much of this development took
place in smaller cities and towns which hitherto had
not attempted to maintain symphony orchestras. Half of
these orchestras are in communities with less than 300,-
ooo population and about a fourth in communities of less
than 100,000. They vary immensely in quality and scope
of service, ranging from competent professional organi-
zations, which may eventually advance to major rank,
to small orchestras, predominantly amateur, with budgets
of only a few hundred dollars a year.

The great development in audiences and in the num-
ber of symphony orchestras after 1920 was accompa-

Rise of American Orchestras 41

nied by further changes in the character of the pro-
grams presented. Of the 50 most eminent composers to-
day, Bach, Beethoven, Brahms, Mozart, Tschaikowsky,
and Wagner remain in a class by themselves. Beethoven's
supremacy has never been seriously threatened, but,
whereas his greatest rival in 1910 was Wagner, today
it is Brahms who most nearly approaches him in popu-
larity. Although Beethoven's music represented only 10
per cent of the total repertoire in 1936, it still equaled
the combined volume of 10 of the most prolific of the
late moderns Carpenter, DeFalla, Miaskowski, Proko-
fieff, Rachmaninoff, Ravel, Respighi, Schoenberg, Scria-
bin, and Stravinsky. There has been a revival of interest
in Bach's music which is played twice as much as two
decades ago. Both Wagner and Tschaikowsky are being
used less than formerly on the regular subscription pro-
grams, but they are rising in popularity in radio and
popular concerts. In 1936 the early moderns, includ-
ing Strauss, Sibelius, Debussy, Rimsky-Korsakoff, and
Franck, represented 13 per cent of the repertoire. In
this group Strauss has been the dominating figure since
the war, but during the last decade the music of Sibelius
has increased more rapidly in popularity than any other
of these composers. 10

The Pattern of American Symphony Growth

The basic pattern underlying the rise of the early sym-
phony orchestras and many of the present major orches-
tras has been followed in the development of the sec-

10 John H. Mueller and Kate Hevnor, op. cit.

42 America's Symphony Orchestras

ondary symphonies. Frequently they have begun as co-
operative ventures, as did the New York Philharmonic
Orchestra in 1842. Secondary orchestras usually have
started as amateur or mixed amateur-professional groups,
such as those that evolved into or preceded many of the
wholly professional major orchestras.

TThe development of the average secondary orchestra
roughly follows a number of steps. The orchestra gen-
erally begins as a modest venture on the part of the play-
ers. After seemingly endless rehearsal, the first concert is
given with many misgivings among the skilled musicians
of the group. Admission charges are nominal in the great
hope that there will be an audience. If the one or two
concerts of the initial season have not been unsuccessful,
a third concert may be added the following year. A
more ambitious repertoire is prepared and several of the
less prominent and less expensive concert artists may be
engaged to appear with the orchestra. A few wealthy
citizens become sufficiently interested to underwrite ex-
penses and are promptly elected to the executive board.
In many instances an orchestra association is formed, not
entirely unlike the early "musical fund" societies^

As the orchestra improves in quality, it arouses in-
creased community interest and pride and eventually be-
comes recognized as a civic institution which "should be
supported," as should a hospital or educational institu-
tion. Receipts from ticket sales are supplemented with
additional funds subscribed during a campaign to im-
prove further the quality of the orchestra.

Increasing financial support brings growing profes-
sionalization. As soon as money is available, the pro-

Rise of American Orchestras 43

fessional musicians demand remuneration. The union
usually enters at this point and a formal agreement is
made with the management governing wages and condi-
tions of employment. Programs become increasingly am-
bitious and prominent guest artists are engaged. A num-
ber of more skilled players may be especially imported
for concerts from near-by metropolitan centers to sup-
plement the local orchestra personnel. A more proficient
conductor may be engaged. Progress from this point on
is toward a completely professional orchestra. Compen-
sation usually remains on a rehearsal-and-concert basis,
though amateurs are either absorbed into the professional
ranks or are shunted off. Thereafter progress depends
entirely upon the resources of the community, the com-
petitive situation faced by the orchestra, and the per-
sonalities involved.

Behind the development of these orchestras, as in the
early days of major orchestras, there usually stands a
single, or, at most, a few individuals with enough love
of music, ambition, and tenacity to carry on in the face
of seemingly overwhelming odds. Often it is a local
music teacher or conductor. Sometimes a few enthu-
siastic musicians build a group to the point where
they can bring in a competent conductor to assist in
their further progress. In other cases it may be a small
group of music lovers who feel that the community's
life is not complete without a symphony orchestra.
The symphony orchestra in one eastern city has re-
sulted from the enterprise of an accomplished violin-
ist who chose to return to his home community rather

44 America's Symphony Orchestras

than follow the precarious existence of the concert field.
After a period of teaching, he developed a group of
players sufficiently skilled to form an orchestra. From a
small ensemble there has grown a yo-piece semiprofes-
sional orchestra giving 5 concerts a season with distin-
guished guest artists. In another city a business man, who
had once been a professional musician and had played
under Nikisch, provided the initial impetus and enlisted
the assistance of a few wealthy music lovers. In one mid-
western city the success of the symphony orchestra is
due to a combination of the ability and imagination of
a young American conductor and the business acumen
and intelligence of a manager who gained his experience
in the promotion of boxing and other sports events.

In addition to the symphony orchestras which have
come into existence since the depression as a result of
private initiative and support, the symphony orchestras
established as a part of the Federal Music Project of the
Works Progress Administration have been a significant
development of the period. Since its inception in 1935,
the project has organized 36 symphony orchestras, 28 of
which were still in operation on April i, 1939. These
orchestras had given approximately 17,000 performances
with a gross attendance of 12,500,000 persons. Not only
have the orchestras of the Federal Music Project made
symphony concerts available to large numbers of peo-
ple, either free of charge or at a nominal price, but they
have introduced symphony concerts to many communi-
ties and provided concerts for school systems which
hitherto had not had such facilities. Not being wholly

Rise of American Orchestras 45

dependent upon box-office support, they have been able
to experiment with new and untried music, particularly
that of American composers. In a few instances they
have paved the way for their ultimate transition into
permanent institutions supported by their communities.

TWO

FORCES UNDERLYING RECENT
EXPANSION

THE growth of orchestras in recent years has been due
principally to a number of fundamental social and eco-
nomic forces which have increased the number of play-
ers or orchestral instruments and the public interested in
symphony concerts. The most important of these have
been the development of music education in the schools,
the widespread use, for a time, of symphony orchestras
in motion picture theaters, the progress in recording and
reproducing music and the wide distribution of phono-
graphs and records, and, finally, the evolution of radio
broadcasting.

Music Education in the Schools

At the turn of the century the teaching of music was
well established in grade and high schools throughout
the country, though it was almost entirely limited to
formalized sight singing. The emphasis upon the child
as an individual, which was becoming felt in all educa-
tion, brought an expanding program of music education

46

Recent Expansion 47

which included listening and music appreciation. This
led to increased interest in the world's great instrumen-
tal music, the logical outgrowth of which was the exten-
sion of instruction in the playing of instruments.

Musical progress in the schools was further encouraged
by the activities of the Music Educators National Con-
ference. The growth of school orchestras, especially, has
largely been the result of the work of its Committee on
Instrumental Affairs, which, with the assistance of the
National Bureau for the Advancement of Music, has fos-
tered state and national school band and orchestra con-
tests. Beginning in 1924 with about 30 bands in 5 states,
the contests grew until by 1931 they included 1,100
bands and 700 orchestras in 43 states. The contests have
helped to improve the standard of instrumentation, qual-
ity of performance, and the type of music played. In
193 1 it was estimated that the orchestras from which the
contestants were drawn numbered between 35,000 and
45,000, depending upon how small a group may be dig-
nified by the name of orchestra. By 1939 it is possible
that as many as 30,000 high-school and 1,000 college and
university orchestras had reasonably full symphonic in-
strumentation. 1 The National High School Orchestra
and Band Camp at Interlochen, Michigan, is an out-
growth of the contest movement. This camp, offering
young students courses in playing all band and orchestral
instruments under expert instruction, has been so suc-
cessful that it has led to the organization of similar camps
throughout the country.

The effect of school music education upon symphony

1 Supra, p. 20.

48 America's Symphony Orchestras

orchestra development has been twofold. Hundreds of
professional musicians have come up through high-school
orchestras and summer camps and are now in regular
symphony orchestras throughout the country. Probably
no major symphony orchestra is without one or more
graduates of the Interlochen Camp alone. Players devel-
oped in the high schools have been even more impor-
tant in the hundreds of secondary orchestras. The local
boards of education have often purchased oboes, bas-
soons, horns, and other instruments which were always
eagerly used by those who wished to learn to play them,
and in many cases the local high-school orchestra has
been the impetus behind the formation of the commu-
nity orchestra in which all musicians young and old,
professional and amateur joined forces. Many of the
more skilled high-school instrumentalists progressed
enough to play professionally or to enter the teaching
field. The really unusual talents often received local sup-
port for further study abroad or in one of the great
music centers. Out of this process came a hitherto un-
equaled supply of symphony orchestra players. Equally
important, however, was the unprecedented number of
young people who had become acquainted with sym-
phonic music under entertaining and^ stimulating circum-
stances and represented a great new audience to support
the professional, and semiprofessional symphony orches-
tras which were being formed.

Another factor which bore a part in the development
of new orchestras was the greater availability of the
higher stages of professional instruction. Although for
many decades there had been excellent conservatories in

Recent Expansion 49

this country, the three great schools of music The East-
man School of Music of the University of Roches-
ter, The Curtis Institute of Music, and Juilliard School
of Music which were established during the period
1921-24, have been outstanding in preparing orchestral
musicians for professional work. These schools have also
offered training in conducting and have produced a num-
ber of promising young leaders who have been active in
the organization of new orchestras. The instrumental de-
partments of many other schools and conservatories ex-
panded and improved, while colleges and universities
likewise have augmented their music faculties and en-
larged the scope of their activities in this field. The in-
stitutions of higher education thus supplemented the
public schools in producing both players and enthusiastic
and informed listeners for symphonic music.

The Motion Picture Theater Orchestra

Another effective agent in introducing symphonic
music to a wider public than ever before was the motion
picture theater orchestra. These orchestras became im-
portant as motion pictures improved and required better
musical backgrounds and as the general program of en-
tertainment offered by the theaters became more preten-
tious. The principal theaters in practically every city
boasted an orchestra capable of playing Zampa, William
Tell, Poet and Peasant, Semiramis, and other standard
overtures, in addition to providing a musical background
which ranged from Hearts and Flowers to excerpts from
the Beethoven symphonies. Before the end of the World

50 America's Symphony Orchestras

War some of the more important of these orchestras, for
example, the Strand, Capitol, Rivoli, and Rialto in New
York, had evolved to full symphonic proportions and to
a relatively high standard of performance. Only a few
years later, the famous Roxy Theater Orchestra attained
a high artistic level and its regular broadcasts of the
world's finest symphonies, including such ambitious un-
dertakings as Beethoven's Ninth, were among the popu-
lar radio programs. These motion picture theater orches-
tras were a valuable training ground for players and con-
ductors, as well as for the audiences who were exposed
to a great deal of good music in anything but a "high-
brow" fashion and who learned to like it.

Recorded Music

The development of recorded music has been another
important force in the growth of symphony orchestras
and their audiences. The evolution of the talking ma-
chine into a fine musical instrument and the continuous
improvement in the technique of recording and in the
variety and quality of musical compositions available
through this medium have brought good music within
the reach of a vastly widened public.

For almost three decades recorded music has been
closely associated with music appreciation work in the
public schools. Not only has it provided a wide range of
music which otherwise would not have been available,
but the high quality of the promotional work of the
Victor Company among the schools contributed to im-
proving the techniques and broadening the scope of mu-

Recent Expansion 51

sic education. The Victor Talking Machine Company
was quick to see the educational possibilities of their rec-
ords and in 1911 it organized an Educational Depart-
ment. In 1915 its educational program included a group
of trained music teachers who visited schools, colleges,
and universities, aided in setting up courses of study, and
instructed teachers in the use of phonographs and rec-
ords. During the second year of the plan, the 13 mem-
bers of this group visited 1,283 c^es and gave over 4,000
demonstrations. By the end of that year, nearly 15,000
Victor machines were being used in the schools of 4,3 1 8
cities. At that time the company was producing 2 1 1 spe-
cial educational records, over half a million of which had
been shipped to schools during the year, in addition to
1,500,000 records from the regular catalogue. The com-
pany likewise developed a fine series of textbooks for
children of different ages and for use in high schools,
colleges, and universities. By 1931 instruments had been
placed in the schools of 16,000 cities and towns and in
many rural schools. Since that time expansion has con-
tinued along these lines, though complete, separate statis-
tics on schools are no longer available. The list of educa-
tional records now exceeds 500 and over half of the pro-
duction of Red Seal records goes to schools, colleges, and
universities.

Music appreciation courses in colleges have likewise
been greatly aided by the use of phonographs and rec-
ords. Special sets known as the Carnegie Sets and com-
prised of the books, records, and reproducing equipment
necessary to a comprehensive course in music apprecia-
tion were designed by the Carnegie Corporation and

52 America's Symphony Orchestras

distributed, under certain conditions, to colleges and
schools. The Carnegie College Set includes a fine phono-
graph, 900 records, 200 scores, and 150 books, while the
Junior Set is somewhat more restricted in scope. Ap-
proximately 300 colleges, preparatory and high schools
have been provided with these sets.

The influence of the phonograph in widening the
general audience for classical music began to be felt even
before the use of records in education became wide-
spread. As early as 1903 the Victor Company published
its first Red Seal catalogue and about that time other
companies began to record and distribute some of the
world's great music. Vocal music and solos predominated
in these early recordings, and it was not until techniques
had been improved that symphonic records made their
appearance. The first full movement of a symphony was
recorded in 1916. The development of the orthophonic
phonograph in 1927 and of electrical recording in 1930
made possible vastly improved reproduction, resulting in
a growing interest in recordings of fine music. Of ap-
proximately 10,000,000 records produced in 1938 by
RCA Victor alone, it is estimated that about 3,000,000
were recordings of serious music. This number, however,
represented about a half of the dollar volume of records
produced. In recent years symphonic music has come to
represent an increasingly large proportion of new re-
cordings, until at the present time they account for about
50 per cent of the new Red Seal releases. Whole sym-
phonies and large symphonic works are being recorded
more than ever before, while a highly ingenious promo-
tional campaign has been launched by the RCA Victor

Recent Expansion 53

Company to stimulate the purchase of permanent record
libraries with the slogan "music you want when you
want it." These "Masterpiece Sets" are now the back-
bone of the Red Seal business.

The Radio

The greatest agency available for the dissemination of
fine music, however, is the radio. The first program of
the newly formed National Broadcasting Company on
November 15, 1926, included a performance by the
New York Symphony Orchestra and the New York
Oratorio Society, and symphonic music has been an im-
portant part of the program structures of the radio net-
works ever since their formation. Both the New York
Philharmonic-Symphony and Boston Symphony orches-
tras began broadcasting with comparative regularity as
early as 1927. The broadcasts of the New York Philhar-
monic-Symphony Sunday afternoon concerts began in
the fall of 1928 over the Columbia network. The radio,
like recorded music, has been an important factor in the
progress of music education in the schools. In 1928
Dr. Walter Damrosch initiated the NBC Music Appre-
ciation Hour, the audience of which has grown from an
estimated 1,500,000 school children during its first sea-
son to approximately 7,000,000 children in 70,000 schools
where the program is part of the required curriculum at
the present time. 2 The Damrosch Symphonic Hour, Co-
lumbia Symphony Hour, and the programs of the Roxy

2 This does not include additional child listeners in schools where
listening is not required.

54 America's Symphony Orchestras

Symphony Orchestra were among the early sustaining
symphony programs to achieve widespread popularity
with radio listeners, while commercially sponsored hours
such as the Atwater Kent, the Minneapolis-Honeywell
Program featuring the Minneapolis Symphony Orches-
tra, and the Philco Hour first using the Philco Sym-
phony Orchestra and later the Philadelphia Orchestra-
were also great favorites.

The use of symphony orchestras by radio advertisers
declined following 1930 when broadcasting began to be
employed less as a good-will medium and more as a
direct sales stimulus. However, some of the outstanding
sponsored hours, including the Philco, General Motors,
and Ford programs, gained their greatest audiences after
this time. The Ford Hour remains one of the most suc-
cessful programs of serious music and its audience has
been estimated at about 7,000,000 persons as of Decem-
ber, 1938. An especially significant series of commercial
symphonic programs are the Standard Symphony and
the Standard School Broadcasts which have been pre-
sented by the Standard Oil Company of California since
1927 over the NBC Pacific Coast Network. A morning
program broadcast once a week to more than 4,000
schools prepares the students for the evening symphony
radio concerts which feature all of the major symphony
orchestras on the west coast. The school broadcasts also
have thousands of adult listeners.

Symphonic music is on the whole a much more im-
portant factor in sustaining than in commercial pro-
grams, as indicated by the number of broadcasts and
hours of symphonic music originated by the National

Recent Expansion 55

Broadcasting Company, 1935-38, shown in Table III.
Sustaining programs carried from 77 to 87 per cent of
the symphonic music broadcast over NBC during these
four years, and, although the total number of symphonic
hours was less, the symphonic hours on sustaining pro-
grams were more in 1938 than in 1936 and 1937. Ameri-
can radio programs of good music now have a wealth
and variety equaled in no other country. During 1938,
NBC alone presented, in addition to the Metropolitan
Opera, over 40 symphony orchestras, 23 major and sec-
ondary American orchestras, 17 foreign symphony or-
chestras, the Radio City Music Hall Orchestra, the NBC
Symphony, and several smaller company units. The Co-
lumbia Broadcasting System's schedule featured a smaller
number of orchestras 12 American, 4 foreign, and sev-
eral company units, but included important series such
as the regular Sunday afternoon concerts of the New
York Philharmonic-Symphony Orchestra, as well as its
Saturday morning children's series. Nine orchestras were
presented by the Mutual Broadcasting System in addi-
tion to its own staff symphony. Symphonic music has

TABLE III. NUMBER OF BROADCASTS AND HOURS OF
SYMPHONIC Music ORIGINATED BY THE NATIONAL
BROADCASTING COMPANY: 1935-38

Number of Broadcasts Hours

Sustain- Spon- From Sustain- Spon- From

ing sored Abroad Total ing sored Abroad Total

1935

. . . 264

52

27

325

198

40

14

252

1936

... 291

94

35

420

241

68

J 7

326

1937

... 28l

no

27

418

239

78

16

333

1938

... 287

67

379

253

4 1

12

306

56 America's Symphony Orchestras

gained so great a radio following that it has become prac-
tical for two New York stations, WQXR and WNYC,
to depend largely on the broadcasting of symphony re-
cordings.

One of the most interesting and important recent de-
velopments in the broadcasting of symphonic music was
the creation of the NBC Symphony Orchestra. Though
the National Broadcasting Company always had pos-
sessed a symphony orchestra, David Sarnoff, President of
the Radio Corporation of America, determined in 1937
to form a special, full-sized organization comparable to
the best orchestras. This organization was to serve a two-
fold purpose: to supply the constantly growing demand
for more symphonic broadcasts and to present symphony
music under the most ideal radio broadcasting condi-
tions. Accordingly, a 94-piece orchestra was assembled
and the first concert given on November 13, 1937. Pierre
Monteux, Artur Rodzinski, and Arturo Toscanini con-
ducted the orchestra during its first season. In Decem-
ber, 1938, one hundred and ten stations were carrying
the Toscanini-NBC Symphony broadcasts to an esti-
mated audience of about four million.

Radio broadcasting has brought symphony orchestras
to areas of the country and to social and economic
groups hitherto deprived of this form of entertainment.
Network broadcasting, especially, made it possible to
convey the music of the great symphony orchestras to
every section of the United States and to small towns
and rural districts far beyond the practical limits of tour-
ing itineraries. Of the 27,000,000 families, or about 85
per cent of all American families, who own radios, the

Recent Expansion 57

majority, of course, fall in the group with incomes of
less than $2,000 a year. For many of these familiesand
73 per cent in this income group own radios-phono-
graph records and concert tickets are out of reach and
the radio remains the only means of hearing symphonic
music. The ability of the radio to transcend distance and
penetrate all strata of society, and thus to bring sym-
phonic music to millions who otherwise would never
hear it, is of immense value. But the stimulating eif ect of
radio broadcasting in communities and income groups
able to attend concerts and support orchestras has also
been very great.

The radio for a time was feared by the phonograph
and record industry and by concert and orchestra man-
agers as a dangerous competitor. At present, however,
opinion in these fields is virtually unanimous that, al-
though some people no doubt buy fewer records and at-
tend fewer concerts because they can hear good sym-
phonic music over the radio, the net result of radio has
been to awaken much new and active interest in sym-
phonic music which leads to increased record buying and
concert attendance. Owners of receiving sets who other-
wise would never have heard their first concerts have
been exposed to symphonic music over the air, have dis-
covered its beauties, and have become interested in see-
ing and hearing an orchestra in a concert hall.

Not only has broadcasting added to the audiences
who attend the home and tour concerts of the great or-
chestras and who support the many local orchestras that
have been formed; it has also given these audiences a

58 America's Symphony Orchestras

more informed and discriminating taste. Radio programs
themselves have steadily improved in quality. In the
early days of broadcasting, the programs rarely included
complete symphonies but tended toward the more fa-
miliar classics. Today the radio symphony programs are
very similar to those of the average major symphony
concerts. Conductors and orchestra managers attribute
the raising of the standard of programs for tour concerts,
which has been in progress for a number of years, very
largely to the influence of the radio. Whereas the major
orchestras, when playing concerts in the smaller cities,
formerly presented programs including a few of the
lighter works suitable for "pop" concerts, they now find
that their audiences expect symphonic fare of as high
quality as they hear in the broadcasts of the NBC Or-
chestra, the New York Philharmonic-Symphony, or of
the other fine broadcasts. Furthermore, the standards of
programming and performance for the lesser local or-
chestras have also been raised. The musicians themselves
and the audiences loyally supporting these secondary or-
chestras are more fully aware than ever before of the
goal toward which they are striving. Every orchestra,
major or secondary, in a sense, at least, has become a
competitor and is measured in terms of the best sym-
phonic broadcasts.

Economic Factors

While music education provided the foundation for
growing symphony concert audiences and for an in-
creased supply of musicians, and the phonograph and

Recent Expansion 59

radio created widespread interest in fine music, several
other forces in American life contributed to the ultimate
growth of symphony orchestras and concert attendance
in the United States. The period 1919-29 witnessed im-
portant increases in real purchasing power and in the
amount of available leisure time. With these two devel-
opments came a rising tide of expenditures upon non-
essentials and various forms of entertainment and recrea-
tion. Average weekly motion picture attendance in-
creased from 40,000,000 in 1922 to 115,000,000 in 1930,
and passenger automobile registrations rose two and a
half times. Attendance at all kinds of sports events
soared; the arts flourished as never before. Imports of art
goods practically doubled in value from 1912 to 1929.
The total investment in art museums grew from slightly
over $20,000,000 in 1920 to nearly $52,000,000 in 1930,
and enrollment in art schools reached unprecedented
levels. Whereas population increased approximately 16
per cent during the decade 1920-30, the number of
artists, sculptors, and art teachers grew 62 per cent, the
number of authors 87 per cent, and the number of male
musicians especially important in the performing field
as contrasted to teaching gained 48 per cent. 3 That
symphony orchestras and concerts shared in this revolu-
tion in American consuming habits and general culture
during the upswing of the economic cycle is reflected in

3 The total number of musicians listed in the "Occupational Sta-
tistics" report of the 1930 Census only rose 27 per cent from 1920
to 1930. The smaller increase in total musicians than in male musi-
cians is due no doubt to the elimination of many music teachers,
mostly women, by the temporary decline of the piano following the
advent of radio.

60 Americas Symphony Orchestras

the growth in the number of orchestras and concert
attendance.

Paradoxically the depression which followed this
wave of prosperity also contributed to the growth of
symphony orchestras and to general interest in sym-
phonic music. Talking pictures first came into promi-
nence in 1928 and obsolescence struck the motion pic-
ture theater orchestra with devastating suddenness.
Within the space of a few years, practically every im-
portant motion picture house in the country was wired
for sound. When the depression closed approximately
one-fifth of the theaters by 1932 and further curtailed
theater revenues by reducing attendance and forcing a
drop in admission prices, many of the remaining orches-
tras were disbanded. The legitimate theater fared simi-
larly, for talking pictures and the depression combined
to eliminate the road company, and, with it, the local
theater musician's job. Hotels dispensed with salon and
dinner orchestras and the employment of musicians in
public places was generally curtailed. The displaced mu-
sicians were faced with a double problem: earning a live-
lihood and retaining their professional skill. Frequently
they formed groups for the purpose of practicing to-
gether, and occasionally these groups developed into
symphony orchestras. In many cities, therefore, the
newly formed symphony orchestras provided the dis-
placed theater musicians an opportunity, at least, to re-
tain contact with their profession and thereby to earn a
small part of their livelihood. Moreover, it was often the
nucleus of professional musicians which enabled many

Recent Expansion 61

secondary orchestras to attain a musical status which
merited community interest and support.

Types of Orchestras

The variety of orchestras which resulted from these
forces is as amazing as the growth in their number. They
embrace every kind of organization which can be fitted
into the symphonic frame, and they differ widely in
quality and scope of service. Only one line of demarca-
tion is reasonably clear that between the so-called "ma-
jor" and "secondary" symphony orchestras.

The major orchestras, as classified in this study, are
those with annual budgets in excess of $100,000. There
are 16 in this class with budgets ranging up to $720,000
and averaging about $300,000. They are found in the
great metropolitan centers; only a few are located in cit-
ies of less than half a million, and no city with a metro-
politan district of less than 400,000 successfully supports
a major orchestra. The major orchestras average about
50 concerts a year, while the Boston Symphony Orches-
tra presents more than three times as many. The person-
nel of the major orchestras is engaged by the season, for
a specified number of weeks the average being 25 and
at a minimum wage, the more proficient and valuable
players receiving additional compensation. The mini-
mum weekly pay for the average major orchestra musi-
cian is approximately $60, or $1,500 per season. The top
salary for symphony musicians is possibly $9,000 per
season, but very few approach this figure.

Secondary orchestras vary greatly in quality and

62 America's Symphony Orchestras

scope. Some, in relatively large cities, are composed en-
tirely or mainly of professional musicians paid by the
concert and rehearsal, while the personnel of other or-
chestras is chiefly amateur. Their annual budgets range
usually between $8,000 and $25,000, and almost none
approach the $100,000 lower limit of the major orches-
tra class. They give from 5 to 8 concerts a season with
occasional children's, summer, or "pop" concerts. With
good fortune and intelligent direction some of these may
improve sufficiently to warrant fuller financial support
and thus graduate into the major class. At the lower end
of the scale are the marginal orchestras, almost entirely
amateur, costing a few hundred dollars a year and giving
i or 2 concerts. In some cases the orchestra represents an
important asset to the music life of the community. In
others its chief value lies in affording an opportunity for
music lovers to play together. Sometimes the orchestra
members pay dues for this privilege.

In addition, a number of the smaller orchestras per-
form more or less specialized services. The difficulty that
women musicians usually experience in obtaining recog-
nition equal to men has led to the formation of a few
women's orchestras. The Woman's Symphony Orchestra
of Chicago, which originated in this fashion, numbers 80
pieces and presents 4 concerts and occasional out-of-
town engagements. The Woman's Symphony Orchestra
of 120 players maintained by the City of Long Beach,
California, claims to be the only municipally supported
woman's symphony orchestra in the world. It gives 5
regular concerts a season, about the same number of

Recent Expansion 63

popular concerts, and an indeterminate number of out-
of-town appearances.

It is often difficult to distinguish clearly orchestras
which exist primarily for the pleasure derived from play-
ing together from those which have attained a broader
measure of community importance. The Chicago Busi-
ness Men's Orchestra with 128 pieces is an amateur ven-
ture; yet its concerts usually draw 1,000 paid admissions
and include compositions such as the Schumann A Minor
Concerto and Beethoven's Seventh Symphony.

Among the specialized orchestras in cities supporting
a major orchestra there is the training orchestra which
exists principally to provide orchestral experience for
young musicians. The Chicago Civic Orchestra is main-
tained under the auspices of the Chicago Symphony to
train young players and to introduce unknown artists of
talent to the public. Forty of its graduates are now in the
Chicago Orchestra, 18 in Kansas City, and a total of
about 250 in all the major orchestras. The National Or-
chestral Association of New York also provides compre-
hensive training and experience for young players. More
than 55 former pupils are playing in 22 of the major and
top-flight secondary orchestras, while over a hundred
have found full or part-time work on the radio, in sum-
mer orchestras, or in the theater.

A number of communities have chosen to maintain
small "classic orchestras" of between 35 and 45 mem-
berssimilar to the orchestras of the early nineteenth
century rather than a full-sized symphony. The Wilkes-
Barre^Scranton Sinf onetta is an attempt to cut the musi-
cal coat to fit the cloth, following an unsuccessful at-

64 Americas Symphony Orchestras

tempt at a full-sized symphony. It presents a season of 5
concerts in Wilkes-Barre and Scranton, eighteen miles
apart, and participates in the annual Wyoming Valley
Bach Festival, The Charleston (S. C.) String Symphony
of 30 players performs 4 concerts a year. Orchestras of
this type render valuable service in presenting the works
of early classicists such as Vivaldi, Purcell, Lully, Haydn,
and Mozart, as well as the growing repertoire of con-
temporary compositions for small orchestras.

THR]

ORCHESTRA BUDGETS AND SOURCES
OF INCOME

THE financial structure of symphony orchestras varies as
greatly as do their types. Budgets range from a few hun-
dred dollars for some of the very modest semiprofes-
sional organizations to three-quarters of a mill inn for one
of the leading major symphonies. Orchestras that have
reached major statuswith a completely professional
personnel paid by the week and presenting a regular sea-
son of concerts of eighteen or more weeks' duration
invariably have budgets exceeding $100,000. Very few
of the secondary orchestras even approach the lower
limit of major orchestra budgets, while even the best sec-
ondary orchestras, with ambitions toward major status,
rarely cost more than $50,000 or $60,000 a year.

Despite these variations in total expense, the financial
organization of all symphony orchestras possesses two
common characteristics: (i) the principal source of op-
erating income is the sale of subscriptions to regular
concerts; and (2) total operating income, including rev-
enues from special series, tours, radio, arf^recording, as
well as from the regular season concerts, falls short of

65

66 America's Symphony Orchestras

meeting total costs and must be supplemented by various
forms of deficit financing. Even for the very best major
orchestras, earning 85 per cent or more of their total
costs, the deficit to be financed may range from $70,000
to slightly over $100,000. For the majority of major or-
chestras, which earn half or less of their budgets, the an-
nual deficit may range from about $60,000 to nearly
$200,000. Although the sums that must be raised by sec-
ondary orchestras are naturally smaller, the problem still
remains the same. This, as mentioned previously, must
be bridged by one or more of the following methods:
endowment, gifts from a comparatively few wealthy in-
dividuals, public campaigns for maintenance funds, and
subsidies or other payments from municipalities or other
government units. These common characteristics have
remained unchanged throughout the development of
symphony orchestras in the United States.

Early Orchestra Costs and Income

As early as 1879, in its second season, the total budget
of the New York Symphony Orchestra covering 9 regu-
lar concerts and 7 "public rehearsals" was $17,613. This
sum allowed but a few hundred dollars compensation for
each member. Even on this limited scale of operation,
with costs and scope roughly paralleling those of the
more important secondary orchestras today, the small
surplus of $1,150 would have been impossible without
$4,361 from subscribers and members, only part of
which seems to have been in the form of ticket subscrip-

Budgets and Income Sources 67

tions. The per-concert cost for the orchestra's season
was $1,100.

The Boston Symphony Orchestra embarked upon its
first season in 1881 with a budget of $100,000, only half
of which was expected to be derived from concert re-
ceipts. The 20 regular concerts and 20 "dress rehearsals"
of the orchestra were given at a per-concert cost of
$2,500, a figure which, if allowance is made for rising
price levels since then, corresponds roughly to the per-
concert cost of major orchestras today. During its eighth
season in 1899, the total budget of the Chicago Sym-
phony Orchestra was slightly under $125,000, of which
nearly 85 per cent was accounted for by concert re-
ceipts.

The increasing cost of presenting a season of sym-
phony concerts from 1900 to 1920 is illustrated by the
experience of the Chicago Symphony Orchestra. 1 Since
the total budget is complicated during most of this pe-
riod by the inclusion of the operating cost of Orchestra
Hall and the income derived from the rental of the audi-
torium and office space, personnel costs are the most sat-
isfactory index of expense trends. These rose from
$95,000 in 1899-1900 to $124,000 in 1914-15, and by
1919-20 were about $161,000, or 70 per cent above the
1899-1900 level. The concert income of the orchestra in-
creased from $103,000 to $136,000 in the 1914-15 sea-
son and by 1919-20 was $187,000, or 79 per cent higher
than during the 1899-1900 season. Increases in both con-

1 Detailed figures are available in the annual financial reports in
The Chicago Symphony Orchestra: Its Organization, Growth and
Development (1891-1924), Philo Adams Otis, Summy Company, 1924.

68 America's Symphony Orchestras

cert expense and income were due in part to expanded
service. Concert receipts at the end of this period repre-
sented about 85 per cent of total expense, as they had
two decades earlier.

Rising Budgets of Major Orchestras During the
Twenties

The great increase in 'major orchestra expense during
the twenties is exemplified by the Boston, Philadelphia,
and Chicago orchestras. 2 The average budget for these
three orchestras in 1919-20 was $346,000 and by the
1928-29 season had risen 61 per cent to a total of $558,-
492. Increased costs were largely due to a great expan-
sion in number of concerts, as evidenced by the fact
that while total budgets were rising over 60 per cent, the
average cost per concert was growing only 40 per cent
from $3,978 during the 1919-20 season to $5,604 in
1928-29.

Average personnel charges, including conductors and
assisting artists, 3 for the 3 orchestras rose from $207,366
in 1919-20 to $398,722 in 1928-29, a gain of 93 per cent,
while the proportion of the total orchestra budget repre-
sented by them mounted from 59.9 per cent to 71.4 per

2 These are the only three orchestras which found it practical to
furnish financial data for the period 1919-20 to 1928-29. Furthermore,
five of the major orchestras included in the analysis of later periods
were not established or had not attained major status until near the
close of this period.

8 These three items unfortunately must be grouped together, since
assisting artists have been combined with the other two items in
the operating statements of one orchestra and since orchestras will
provide only confidential information on conductor expense.

Bzidgets and Income Sources 69

cent. In spite of the large salaries paid to conductors by
the close of this period, the rise in personnel expense was
due mainly to the 90 per cent increase in compensation
to orchestra players. Although the average salaries for
conductors increased about 165 per cent during the pe-
riod, the proportion of total budgets represented by
them rose only from 12 to 14 per cent.

Cost of operation, other than personnel, increased but
15 per cent during the period and dropped from 40 per
cent of total expense in 1919-20 to 29 per cent in
1928-29. The two largest items were hall rental and
maintenance, and management and administration. The
average hall rental and maintenance increased 75 per
cent from $21,631 to $37,546, but remained 6.5 per cent
of the total budget. Administrative expense rose 2 1 per
cent from $25,978 to $31,665, but represented a smaller
part of the total budget, 5.5 per cent as compared to 7.8
per cent in 1919-20. Other items of expense varied so
greatly from orchestra to orchestra and from year to
year that generalizations regarding them are impossible.

Total operating income increased 65 per cent, or from
$305,000 in 1919 to $504,000 in 1928-29, while its
ratio to total expense increased from 88 per cent to 90
per cent. This improvement was accomplished princi-
pally by an increase in the number and variety of serv-
ices. While income from the regular concert series
gained only 59 per cent, other operating income in-
creased 74 per cent. In Boston and Philadelphia addi-
tional subscription series brought increased income, while
children's and youth's concerts served a similar purpose
in Chicago. Radio broadcasting was a minor source of

jo America's Symphony Orchestras

additional income for all 3 orchestras, while recording
for phonograph records was a highly important source
of revenue for only one of the group. Tour income
increased 18 per cent but represented a considerably
smaller proportion of total earned income in 1928-29
than in 1919-20, 28.3 per cent as compared to 19.3 per
cent.

The 3 orchestras sought to bridge the gap between
expense and receipts from operation in quite different
ways. In Chicago, funds derived from the rental and
operation of Orchestra Hall and the office space included
in the building more than covered the $31,484 loss from
the operation of the orchestra resulting in a profit of
$22,914 in 1928-29. Orchestra expenses for the season
were $219,420 and operating income $187,937.* Phila-
delphia resorted to income from endowment, while Bos-
ton relied almost exclusively upon the contributions of
a comparatively small number of wealthy people.

Major Orchestra Budgets Since 1928

Financial data for the majority of the major sym-
phony orchestras are available for 1928-29 and subse-
quent years. Consequently more complete analysis is pos-
sible for the past decade than for earlier years. It has
been necessary, however, to divide the major orchestras
into three relatively distinct groups based, not upon ar-
tistic quality, but principally upon size of budget and
scope of service. The New York Philharmonic, Phila-
delphia, and Boston symphony orchestras, located in the
4 Otis, op. tit., p. 331.

Budgets and Income Sources 71

first, third, and fifth largest metropolitan districts 5 of the
country, all with budgets of over $600,000 and giving an
average of 134 concerts annually, have been grouped to-
gether as Group I. A second group, more representative
of the "average" major symphony orchestra, includes
those with budgets between $200,000 and $600,000, pre-
senting 70 concerts each season on the average, and lo-
cated for the most part in cities with metropolitan dis-
tricts of from 750,000 to 2,500,000 population. The Chi-
cago, 6 Detroit, Cleveland, Cincinnati, St. Louis, Minne-
apolis, Los Angeles, and San Francisco orchestras fall in
Group II. Group III is comprised almost exclusively of
newer major symphony orchestras formed after 1920.
These have budgets of between $100,000 and $200,000,
hold an average of 61 concerts each year, and are situ-
ated in metropolitan districts under 750,000 population.
Because of their recent establishment they are in many
ways unique as to financial characteristics and problems
and therefore will be treated after the analyses of
Groups I and II have been completed. Group III in-
cludes the National Symphony Orchestra of Washing-

5 Metropolitan districts are the highly populated areas contiguous
to large cities. As defined by the Bureau of the Census they include
all areas adjoining cities of 100,000 population or over, with a density
of population of 150 or more persons per square mile. Since the pre-
ponderant growth of population in our larger cities since 1920 has
been suburban, it is more logical to treat metropolitan districts as
the market for symphony orchestra audiences than to confine it to
the corporate limits.

6 In many respects, other than size of budget, the Chicago Sym-
phony more closely resembles the orchestras in Group I. For ex-
ample, it gives 100 concerts a season. However, from a budgetary
viewpoint it falls in Group III.

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Budgets and Income Sources 75

ton, D. G, and the Rochester, Pittsburgh, Kansas City,
and Indianapolis symphony orchestras.

Financial data for Group I orchestras are complete for
the period. For Group II orchestras, the final analysis for
the 1937-38 season covers all except San Francisco, 7 but
the study of trends from 1928-29 has been limited to
the data provided by the Chicago, Cleveland, Cincinnati,
and Minneapolis orchestras. Some of the figures for
1937-38 used in statements regarding trends over the last
decade will not correspond exactly with those for
1937-38 in Table IV, owing to the necessity of averag-
ing different groups of orchestras, but the differences
are relatively small.

The average budget for Group I orchestras, Boston,
New York, and Philadelphia, in 1928-29 was $718,398.*
Budgets for the 1932-33 season were 9 per cent, and
those for 1936-37, 18 per cent below the 1928-29 figure.
By 1937-38, however, they averaged $662,173 an d were
still 8 per cent below 1928-29.

Budgets for Group II, including the majority of older
major orchestras, averaged $363,864 during the 1928-29
season. By 1932-33 the total costs of this group were 21
per cent below the 1928-29 level, but by 1936-37 had
risen to within 16 per cent of the figure for that year

7 Information from San Francisco was delayed beyond the time
limit set for the survey owing to the death of its manager, Mr.
Peter Conley.

8 Group I orchestras must not be confused with the group ana-
lyzed for the 1919-20 to 1928-29 periods, since the New York Phil-
harmonic-Symphony has replaced the Chicago Symphony Orchestra.
This substitution accounts for the larger average budget for Group I
orchestras in 1928-29 than that reported for the group composed of
Boston, Philadelphia, and Chicago, discussed earlier in the chapter.

j6 America's Symphony Orchestras

and remained comparatively unchanged during the suc-
ceeding year. It is evident that Group II orchestras were
hit more severely by the depression and have recovered
more slowly than Group I.

Since length of season and the number of concerts
given exert an important influence upon total costs,
the trend in expense per concert is especially significant.
This has declined steadily for the 3 Group I orchestras
until in 1937-38 it reached 93 per cent of the 1928-29
level. Per-concert costs for various seasons averaged as
follows: 1928-29 $5,282; 1932-3315,039; 1936-37
$4,975, and 1937-38 $4,929. The number of concerts,
however, varied from an average of 136 in 1928-29, 130
in 1932-33, to 119 in 1936-37, and rose again to 134
in 1937-38. Inasmuch as 1936-37 budgets for Group I
orchestras were 82 per cent of 1928-29, the practically
unchanged per-concert costs indicate that the economies
of 1936-37 were made largely by curtailing the number
of concerts.

The per-concert cost of the Group II symphony or-
chestras exhibited a different trend in that it declined by
1932-33 to 96 per cent of 1928-29, following which it
rose to new high levels. Per-concert expense for this
class was 9 per cent greater in 1937-38 than during the
1928-29 season. This was due principally to the fact that
the average number of concerts given by these orches-
tras had decreased from 103 to 80 a season since 1928-29.
The average cost per concert for Group II orchestras
during ^ various years was as follows: 1928-29 $3,516;

Group II orchestra budget totals have risen approxi-

Budgets and Income Sources 77

mately 7 per cent since 1932-33, while the cost per con-
ceit has increased nearly 14 per cent.

Trends of Specific Cost Items

Orchestra personnel expense, including compensation
of conductors, which represents an average of slightly
more than two-thirds of Boston, New York, and Phila-
delphia budgets, did not fall in 1932-33, but by 1936-37
it was 22 per cent less than in 1928-29. By the 1937-38
season personnel costs had risen to within 2 per cent of
the 1928-29 level. These relatively unchanged costs,
however, conceal an important shift in the relationship
of conductor and player expense. The limited informa-
tion available on conductors' salaries suggests an esti-
mated decrease of nearly 25 per cent in their compensa-
tion since 1928-29 as against a probable gain of 10 per
cent in payments to the rank and file of the orchestra.

As compared with the personnel costs of the 3 Group
I orchestras, those of Group II have declined more dras-
tically and have remained at lower levels. This item-
accounting for nearly three-quarters of the total budgets
in this group averaged $265,632 in 1928-29. During the
1936-37 season Group II orchestra personnel costs were
but 21 per cent under the 1928-29 level and by 1937-38
were still 17 per cent below. Reduced total expenditures
for players and conductors, however, were accompanied
by curtailed concert schedules so that the average per-
concert charge for personnel rose from $2,579 during
the 1928-29 season to $2,773 in 1937-38,

The Boston, Philadelphia, and New York orchestras

78 America's Symphony Orchestras

reduced their payments for assisting artists and groups
approximately 60 per cent from 1928-29 to 1932-33, al-
though by 1937-38 they had returned to about 12 per
cent below the predepression level. Group II orchestras,
however, were more dependent upon the "pulling
power" of soloists and therefore cut their assisting artist
expenditures but 17 per cent in 1932-33 and again in-
creased them until in 1937-38 they were slightly more
than 10 per cent above the 1928-29 season.

Hall rental and maintenance costs of Group I orches-
tras have fallen off nearly 9 per cent since 1928-29, while
those of the 8 Group II orchestras have decreased approx-
imately 35 per cent. The latter decrease was due in part
to curtailed concert schedules. Management and admin-
istrative expense have remained practically unchanged
for both classes of orchestras, although during the
1932-33 season Group II orchestras temporarily reduced
their administrative budgets 35 per cent. Boston, New
York, and Philadelphia administrative costs averaged
$43,090 during the 1928-29 season and $44,046 in
1937-38, while those for Group II orchestras averaged,
roughly, $25,000 for the same seasons.

Expenditures of the 3 Group I orchestras for promo-
tional purposes increased steadily from an average of
$8,922 in 1928-29 to $13,839 in 1937-38, a gain of 54 per
cent. Group II orchestras, on the other hand, reduced
their advertising and publicity budgets by more than 60
per cent from 1928-29 to 1932-33 but were only 4 per
cent below 1928-29 during the 1937-38 season.

Group I orchestras reduced their program printing ex-
pense by nearly 40 per cent from over $16,000 in

Budgets and Income Sources 79

1928-29 to about $10,000 in 1932-33, and it has remained
at that level. In contrast to this trend, average program
costs of Group II orchestras have risen slightly but re-
main less than $3,000.

Expenditures for music purchases and fees were cur-
tailed materially by both groups of orchestras during the
depression. Those of Group I, however, had risen by
1937-38 to 14 per cent above the 1928-29 total, because
of a tendency to feature a comparatively large propor-
tion of new compositions and the higher performance
fees charged. Group II orchestra music costs in 1937-38
remained 27 per cent below the 1928-29 figure.

Tour expenditures also decreased on the part of both
orchestra groups in keeping with curtailed tour sched-
ules. During the 1937-38 season the tour expense of
Group I orchestras was about 70 per cent of the 1928-29
level, while that of Group II was about 55 per cent.

Trends in Income

The ups and downs of orchestra costs have been bal-
anced by similar variations in income. 9 The significant
factor in income trends is the proportion of total ex-
pense met by operating and nonoperating income. Ac-
tual operating income of Group I orchestras, Boston,

9 Budgets have not always been balanced annually, but the deficits
carried over from one year to the other have usually ranged from
i to 3 per cent. In 1932-33, however, Group II orchestras carried
over a 6 per cent deficit. In 1928-29, Group I orchestras actually
showed a profit, if nonoperating income is included $718,396 total
expense to $742,576 total income. This was due almost entirely to
extraordinary radio and recording contracts on the part of a single
orchestra.

8o America's Symphony Orchestras

New York, and Philadelphia, in 1928-29 averaged $634,-
344; by 1932-33 it had dropped 14 per cent, and by
1936-37 about 17 per cent, while in 1937-38 it still re-
mained 12 per cent under the 1928-29 level. In relation
to total expense, operating income changed but little: 88
per cent in 1928-29, 83 per cent in 1932-33, 89 per cent
in 1936-37, and 85 per cent in 1937-38.

The average operating income of Group II orchestras
in 1928-29 was about one-third of Group I $189,181.
These orchestras responded more quickly than the
Group I orchestras to the depression and lost about 27
per cent of their operating revenues by 1932-33. By
1936-37 their operating income was 14 per cent below
1928-29 and remained at approximately that level during
the following season. Group II orchestras have always
earned a much smaller proportion of their total expense
than Group I: 52 per cent in 1928-29, 45 per cent in
I 93 2 -33? an d about 53 per cent in 1936-37 and 1937-38.

The average income from regular series for the Bos-
ton, New York, and Philadelphia group has declined
largely because of a loss in subscriptions whicfy the in-
crease in single seat sales has not been able to offset. Sub-
scription sales in 1936-37 were only about 75 per cent
and in 1937-38 approximately 79 per cent of the 1928-29
figure. Single admissions, on the contrary, in 1936-37
were 60 per cent above and in 1937-38 remained 46 per
cent above 1928-29. Group II orchestras, however, have
improved their position in regard to subscriptions. Their
average subscription income dropped only 8 per cent in
1932-33 and by 1937-38 was 5 per cent above 1928-29.
Single seat sales, in contrast, shrank 29 per cent by

Bttdgets and Income Sources 81

1932-33 and have remained about 27 per cent below the
1928-29 season since 1936-37.

Receipts from special concert series for Group I or-
chestras increased 15 per cent from 1928-29 to 1937-38.
While these concerts remained a minor source of in-
come for Group II orchestras, the absolute sums de-
rived from them approximately tripled from 1928-29 to
1937-38. Children's and youth's concerts of Group I
orchestras produced about half as much revenue in
I 937~3% as in 1928-29, while Group II orchestra receipts
from this source increased 1 3 per cent.

Gross income from tours has shown varying trends
since 1928-29. Group I orchestra tour receipts dropped
14 per cent by 1932-33, remained 16 per cent under that
figure in 1936-37, but during the 1937-38 season rose
i per cent above the 1928-29 total. Income from tours
of Group II orchestras declined 42 per cent from
1928-29 total by 1932-33, and nearly 50 per cent by
1936-37, and still showed a 45 per cent decline in

1937-38.

The analysis of radio broadcasting income and that
received from the making of phonograph recordings pre-
sents special problems. Comparatively few orchestras de-
rive income from these sources, although they are ex-
tremely important to some of them. Moreover, financial
data in these fields are limited and highly confidential.
Generalizations for separate groups are meaningless, but
of all major orchestras in 1928-29 4 received a total of
approximately $200,000 from phonograph recordings,
while 5 secured about $125,000 from broadcasting. By
1932-33 recording receipts had declined nearly 80 per

82 America's Symphony Orchestras

cent, while radio income dropped off more than half.
During the 1937-38 season, 6 major orchestras were de-
riving a total of about $100,000 from recording, while
another group of 6 were receiving a similar amount from
broadcasting.

Revenue from program advertising, a minor source of
operating income, has declined approximately one-half
since 1928-29 in the case of both Group I and II or-
chestras.

Nonoperating income has declined in volume for both
Group I and II orchestras since 1928-29, 24 per cent by
the 1937-38 season in the case of the former, and 20 per
cent for the latter group of orchestras. Again the great
variation existing between individual orchestras compli-
cates the task of analysis. Return from endowment for
Group I orchestras ranges from about $12,000 to over
$60,000, while 2 Group II orchestras derive an annual
income of more than $100,000 from this source. Conse-
quently, trends as to average income from endowments
are of no significance. Endowment income of one or-
chestra in Group I has remained comparatively un-
changed during the last nine years, while the return to
the other 2 has shrunk between 35 and 40 per cent.
There was a marked increase in 1928-29 in endowment
and the income therefrom among Group II orchestras,
particularly for Cincinnati and Cleveland. From the in-
complete data available, it seems reasonable to assume
that the endowment return of Group II orchestras has
decreased between 25 and 30 per cent since 1928-29.

Maintenance funds, subscribed periodically by the
public, have been used to a varying degree in different

Budgets and Income Sources 83

years by Group I and II orchestras so that an interpreta-
tion of general trends again is difficult. Average income
from this source to Group I in 1937-38 was approxi-
mately two-thirds of the amount secured in 1928-29.
Since 1928-29 the maintenance fund receipts of i Group
II orchestra have dropped approximately 70 per cent,
while the maintenance fund income of another or-
chestra, which formerly amounted to well over $150,-
ooo, has been supplanted by endowment. Group II or-
chestras as a whole, however, are depending more on
maintenance funds and less on endowment than in
1928-29.

Expense and Income Trends of the N&wer Major
Orchestras

Due to the fact that all of the group furnishing finan-
cial data have been established or attained major status
since 1929, the budgets and operating income of the
newer Group III orchestras Indianapolis, Kansas City,
Pittsburgh, Rochester, and Washington follow unique
patterns. They therefore require separate analysis, be-
ginning with the 1932-33 season. 10 The average budgets
of these orchestras have increased from $112,653 during
the 1932-33 season to $162,781 in 1937-38, a gain of 50
per cent. Increasing budgets, however, have been accom-
panied by equally marked declines in cost per conceit,

10 In order to simplify what was at best an extremely difficult and
tedious task, the questionnaire sent to major orchestras limited its
request for financial data to the seasons of 1928-29, 1932-33, 1936-37,
1937-38, and, where possible, 1919-20, and 1938-39.

84 America's Symphony Orchestras

due to an expansion in the average number of concerts
from 25 to 6 1 per season. Whereas the average cost per
concert for Group III orchestras in 1932-33 was $3,188,
by the 1937-38 season it had decreased to $2,150, a drop
of 3 3 per cent.

Personnel costs for this group of orchestras rose 36 per
cent from 1932-33 to 1937-38. Expenditures for guest
artists more than tripled during the period under anal-
ysis. Hall rental and maintenance costs rose approxi-
mately 33 per cent, while administrative budgets were
increased approximately 30 per cent. Advertising and
publicity expenditures were expanded 34 per cent, while
payments for music fees and purchases rose nearly two
and a third times.

While total income of Group III orchestras increased
59 per cent from 1932-33 to 1937-38, operating income
rose 140 per cent. As a result the ratio of operating in r
come to total expense improved from 28 to 44 per cent.
Regular concert series income gained 87 per cent over
the period due to a growth of 139 per cent in season sub-
scription sales. Single seat admissions, on the other hand,
dropped 8 per cent. Special concert income increased 50
per cent and receipts from children's and youth's con-
certs doubled from 1932-33 to 1937-38, but these items
remained minor factors.

Several Group III orchestras have managed to supple-
ment their other operating income to an important de-
gree by tours. Average tour receipts increased from a
few hundred dollars in 1932-33 to $11,728 in 1937-38.
Other sources of operating income were negligible.

Group III major orchestras receive no income from

Budgets and Income Sources 85

endowment. Gifts from various sources have accounted
for about 10 per cent of total income in recent years and
average income from this source in 1937-38 has been
about $16,000. Average income from maintenance funds,
representing approximately 48 per cent of total income
in 1937-38, has increased from about $50,000 to $80,000
since the 1932-33 season.

Distribution of Expense and Income

Although all major orchestra budgets are increasing
and those of Groups I and II are approaching the 1928-29
levels, the distribution of costs and income has shown
no radical changes and the characteristic differences
among these groups remain about the same. The only
shift of importance is that the Group I and II orchestras
are earning a slightly greater percentage of their cost
from operations, while the newer Group III orchestras
have greatly improved their operating ratios.

Personnel costs are, of course, the major expense of all
budgets and range from 65.9 per cent for Group III to
71.5 per cent for Group II orchestras, as shown in Table
IV. The cost of soloists and assisting groups ranges from
3.1 per cent for Group I to 6.7 per cent for Group II.
The larger percentage of the total budget spent upon
this item by Groups II and III indicates their greater re-
liance upon soloists as a means of securing audiences.

Group I orchestras spend relatively more for hall
rental and maintenance than other major orchestras: 8.8
per cent as compared to 3.7 per cent for Group II, and
4.5 for Group III. The administrative costs for Group I

86 America's Symphony Orchestras

orchestras, on the other hand, are smaller proportionately
than for the other two classes 6.6 per cent as compared
to 7.9 per cent and 9.8 per cent. These proportions seem
to indicate that an irreducible minimum of administra-
tive ability and detail is required by any large orchestra,
and that orchestra activities often can be expanded with-
out a proportionate increase in administrative cost. There
also seems to be a point past which advertising and pro-
motion cannot be reduced, and these costs therefore rep-
resent a higher proportion of the smaller Group III
budgets than for the other two classes.

The outstanding variation in the composition of in-
come is the much smaller percentage received from op-
erations by both Group II and III orchestras. While
Boston, Philadelphia, and New York earned 87 per cent
of their total income, the orchestras in the second and
third groups earned only 53 per cent and 42 per cent,
respectively. The smaller orchestras derived about the
same proportion of their income from single seat sales
to regular series concerts as did the largest ones, and
slightly more from children's and youth's concerts, but
their receipts from subscriptions, tours, and special series
were relatively much lower. 11 Income from program ad-
vertising represents about the same proportion of the
total for all classes. In radio broadcasting and recording,
the top orchestras again have a great advantage over the
others, receiving approximately 10 per cent of their total
income from these sources as against about 3 per cent for
the other two groups.

11 This statement is equally true of gross and net returns from
tours.

Budgets and Income Sources 87

In view of their smaller operating income, Groups II
and III must raise larger amounts, both in absolute and
relative terms, from other sources. During the 1937-38
season, endowments provided 4.9 per cent of the income
of Group I orchestras. The 19.8 per cent shown for
Group II from this source is not really representative of
the group since it is important for only 2 orchestras.
Group III received no income from endowment. Main-
tenance fund receipts amounted to only 6.5 per cent of
the income of Group I orchestras as compared with 23.9
per cent and 48.4 per cent for the second and third
groups. In addition, orchestras in Groups II and III re-
ceived 3.3 per cent and 9.6 per cent in gifts other than
regular contributions to maintenance funds.

Secondary Orchestra Expense and Income

The financial aspects of secondary orchestras stand in
considerable contrast to those of the major group. Again
it has been necessary arbitrarily to classify orchestras into
groups on the basis of size of budget and scope of serv-
ice. Three classifications have been set up for purposes
of financial analysis: Group IV orchestras with budgets
ranging from $10,000 to $100,000 and giving 5 or more
concerts a season; Group V orchestras, with budgets
over $1,000 and under $10,000 annually and usually giv-
ing 2 or 3 concerts a season; and Group VI orchestras
with budgets under $1,000. Because of the difficulties of
securing adequate data, analysis of these orchestras has
further been confined to the 1937-38 season.

The average budget for Group IV orchestras, during

88 America's Symphony Orchestras

the year in question, amounted to $16,053, while the
average income was $16,912. This margin, however, was
the result of fortuitous circumstance on the part of a
few orchestras. Orchestral personnel represented 59 per
cent of total costs of orchestras of this class, a percentage
slightly below that for major orchestras. Guest artist ex-
pense was a considerably greater proportion of total or-
chestra costs than in the case of any major orchestra
and amounted to 13.2 per cent of Group IV orchestra
budgets. Hall rental represented 8.8 per cent of the aver-
age orchestra budget, its proportion exceeding that found
in all major orchestra budgets except Group I. Adminis-
tration was allocated 7.3 per cent of the total budget but
represented a negligible sum $1,171. No other single
cost item was large enough to be significant.

The principal income of Group IV orchestras is de-
rived from their regular concert series, which, on the
average, account for 52.3 per cent of total income. Op-
erating income, in turn, amounts to 55,7 per cent of total
income. Season subscriptions during the 1937-38 season
accounted for 42.2 per cent of the average Group IV
orchestra's income, while single seat sales represented
i o.i per cent. Two minor sources of income were chil-
dren's concerts, which returned an average of $503, and
program advertising, which yielded $463, each item
amounting to approximately 3 per cent of total income.

Receipts from maintenance fund campaigns accounted
for 22.5 per cent of Group IV orchestra income, with
gifts representing 8.3 per cent. A new item makes its
appearance on the budgets of these orchestras, due

Budgets and Income Sources 89

largely to the co-operation of several of them with units
of the Federal Music Project: income from public sub-
sidies, which during the season in question amounted to
10.6 per cent of Group IV orchestra income. This sum,
however, was received by only a few orchestras. 12

The average budget of Group V orchestras in 1937-38
was $4,298. Orchestra personnel costs were 50.3 per
cent of the total budget, while expenditures for assisting
artists amounted to 13.1 per cent and averaged $553 per
orchestra. Hall rental represented 10.2 per cent of the
budget and administrative expense and advertising, each,
in the neighborhood of 4.5 per cent $184. The annual
payment for music and performing fees for orchestras of
this class amounted to $152.

The regular concert series of Group V orchestras ac-
count for nearly their entire operating income and, dur-
ing the 1937-38 season, amounted to 71.3 per cent of
total receipts 57 per cent from season subscriptions, and
14.3 per cent from single ticket sales. Maintenance funds
yielded 10.3 per cent of Group V orchestra income
$434 while gifts amounted to 14.3 per cent.

The average budget for Group VI orchestras in
1937-38 was $475 and the average income $607. Orches-
tra personnel accounted for 40 per cent of total costs,
guest artists for 4.8 per cent $23 on the average hall
rental for 17.8 per cent, music purchases for 10.1 per
cent, and programs for 8.8 per cent. Other expenses

12 Only one major orchestra, San Francisco, receives public subsidy
of any size. Due to conditions noted earlier in the chapter, this or-
chestra was unable to provide data in time for its incorporation in
the report. The relation of WPA to private orchestras is discussed in
Chapter Eight.

90 America's Symphoivy Orchestras

were slight, advertising and management each averaging
4.7 per cent $22.

For Group VI orchestras 72.8 per cent of the total in-
come is derived from regular concert series ticket sales,
38.8 per cent from subscriptions, and 34 per cent from
single tickets. Nonoperating income consists principally
of gifts 15.3 per cent.

The most striking difference between the operating
records of the secondary orchestras and the major or-
chestras is the considerably higher proportion of earned
income secured by the former. The ability of the smaller
orchestras to meet so large a proportion of their expense
from ticket sales is due mainly to the fact that their
overhead is kept down by paying players on a concert-
and-rehearsal basis and that many of their players are
amateurs.

Summary of Budget and Income Trends

Much of the detailed information regarding costs and
income of symphony orchestras is neither interesting nor
especially necessary for the general reader. However, the
principal problem facing orchestras is one of financial
stability, and it therefore is necessary for the layman in-
terested in their welfare to familiarize himself with at
least the broad trends of symphony orchestra expense
and receipts. The following summary of the material
contained in this chapter has been prepared to assist the
lay reader in this respect.

The average budget of the Boston Symphony, New
York Philharmonic-Symphony, and Philadelphia orches-

Budgets and Income Sources 91

tras referred to in this study as Group I in 1937-38 was
about $643,000; for Chicago, Cincinnati, Cleveland, De-
troit, Los Angeles, Minneapolis, St. Louis, and San Fran-
ciscoGroup II approximately $300,000; and for the
more recently established major orchestras Indianapolis,
Kansas City, Pittsburgh, Rochester, and the National
Symphony of Washington, D. C, comprising Group III
$165,000. All of the last group were formed since 1925
and therefore have still jto expand their scope of service
to that of the older symphony orchestras.

The greatest expansion in the budgets of the older and
better established symphony orchestras those included
in Groups I and II occurred during the twenties. For
instance, the average annual cost of the Boston, Chi-
cago, and Philadelphia orchestras rose 60 per cent from
1919-20 to 1928-29. The principal reason was increased
compensation to orchestra personnel. Players* salaries
nearly doubled over the period, while those of conduc-
tors increased approximately one and two-thirds times.
Other operating costs, principally management and hall
rental, rose but 1 5 per cent during the nine-year period.

Although part of the increased personnel costs was
due to wage readjustments to meet the rising cost of liv-
ing, a portion of it was the' result of an expansion in the
number and variety of concerts given by symphony or-
chestras. Thus, while total budgets of the Boston, Chi-
cago, and Philadelphia orchestras rose 60 per cent, their
average cost per concert increased but 40 per cent.

Budgets for all except the most recently established
major orchestras have been reduced since the 1928-29
season. In 1937-38 the average for Group I the Boston,

92 America's Symphony Orchestras

New York, and Philadelphia orchestras was 8 per cent
below the 1928-29 level, and that of Group II Chicago,
Cincinnati, Cleveland, Detroit, Los Angeles, Minneapo-
lis, St. Louis, and San Francisco 1 6 per cent lower than
before the depression. While the first group curtailed
their personnel costs but 2 per cent, the orchestras in
the second group cut theirs approximately 17 per cent.
This latter reduction was accomplished partly by lower-
ing the salaries of players and conductors and partly by
curtailing the number of concerts. The slight reduction
in average personnel costs of Group I was eif ected by a
25 per cent cut in conductors' salaries, part of which was
offset by a 10 per cent increase in payments to orchestra
players. The principal other economies effected were a
decrease of approximately 10 per cent in guest artist fees,
and a cut in hall rental of 10 per cent for Group I and
of nearly one-third for Group II. Management expense,
which had risen very little during the boom years, re-
mained unchanged during the succeeding decade.

The budgets of Group III orchestras Indianapolis,
Kansas City, Pittsburgh, Rochester, and the National
Symphony of Washington, D. C, all of which have been
established since 1925 rose approximately 50 per cent
from 1932-33 to 1937-38. Increased costs were fairly
general throughout the various budget items. The num-
ber and kinds of services provided by these orchestras
expanded even more rapidly than did their budgets, as
evidenced by the fact that, while total budgets rose by
about one-half, the average cost per concert decreased
by one-third.

At the present time compensation for players and con-

Budgets and Income Sources 93

ductor represents from two-thirds to three-quarters of
major symphony orchestra budgets, hall rental from 4 to
9 per cent, management from 7 to 10 per cent, and ad-
vertising and publicity from 2 to 3 per cent. 13

The twenties seem to have been comparatively pros-
perous years for symphony orchestras. While the budg-
ets of the Boston, Chicago, and Philadelphia orchestras
were rising 60 per cent from 1919-20 to 1928-29, their
operating income was increasing 65 per cent. However,
operating income in 1928-29 was still insufficient to meet
total costs, and an average of 10 per cent of the orches-
tra budget had to be raised from other sources.

In 1937-38 the average operating income of Group I
Boston, New York, and Philadelphia was 12 per cent
below the 1928-29 level, and that of Group II Chicago,
Cincinnati, Cleveland, Detroit, Los Angeles, Minneapo-
lis, St. Louis, and San Francisco was 14 per cent lower.
On the other hand, the average operating income of the
younger orchestras of Group III Indianapolis, Kansas
City, Pittsburgh, Rochester, and Washington increased
nearly one and a half times from 1932-33 to 1937-38.
During the 1937-38 season, the 3 orchestras in Group I
earned about 85 per cent of their total cost out of operat-
ing income, the 8 orchestras in Group II, 53 per cent,
and the 5 younger major orchestras in Group III, 44
per cent.

Boston, New York, and Philadelphia as a group ex-
perienced a slight decline from the 1928-29 level in re-
ceipts from the regular concert series, due, principally,
to a dropping off in season subscriptions. However, in-

Table IV, p. 72-

94 America's Symphony Orchestras

come from special concerts rose 1 5 per cent and income
from tours i per cent. Children's and youth concert
revenues decreased by about one-half. Regular concert
series income of the 8 other older major orchestras-
Group II in 1937-38 also were slightly below the pre-
depression level, although season subscription sales had
increased 5 per cent. Special concerts were not an im-
portant source of income for these orchestras, while
their tour business was 45 per cent below 1928-29. Re-
ceipts from children's and youth concerts increased 13
per cent. Increases were general among the newer Group
III orchestras, with an 87 per cent gain in regular series
income. Phonograph recording and radio income have
varied so greatly from orchestra to orchestra that gen-
eralization as to trends is well-nigh impossible, although
in 1937-38 the 3 orchestras in Group I secured an aver-
age of 10 per cent of their operating income from these
two sources.

Nonoperating income of Group I and II major or-
chestras was from one-fifth to one-quarter below the
1928-29 level in 1937-38. Endowment income in 1937-38
represented 5 per cent of the average total income of the
3 Group I orchestras, and 20 per cent of that of the 8
Group II orchestras. Receipts from maintenance fund
campaigns accounted for about 7 per cent of the income
of Group I, 24 per cent of Group II, and 48 per cent of
the younger Group III total income. Income from en-
dowment was not an important source of revenue for
the last-mentioned group.

It was impossible to obtain information on trends for
the secondary orchestras professional and semiprofes-

Budgets and Income Sources 95

sional organizations with budgets under $100,000 an-
nually-so that analysis was confined to the 1937-38 sea-
son. Budgets for the more ambitious secondary orches-
trasGroup IV in Table IV mainly professional organi-
zations, averaged about $15,000 and ranged as high as
$60,000. Personnel costs accounted for more than 60 per
cent of total costs, guest artists for 13 per cent, hall
rental for 9 per cent, and management 7 per cent. Over
55 per cent of total income was derived from the regu-
lar concert series, while practically all of the remainder
was secured from maintenance fund campaigns or spe-
cial gifts.

Budgets of the smaller, largely semiprof essional orches-
trasGroup V averaged between $4,000 and $5,000,
with personnel accounting for about one-half of total
costs, guest artists for 13 per cent, hall rental for 10 per
cent, and management for 4 per cent. Managements of
secondary orchestras are almost entirely amateur. Budg-
ets of the small, primarily amateur orchestras in Group
VI averaged $475, 40 per cent of which represented per-
sonnel expense, principally payment to the conductor.
About three-quarters of the income of both Group V
and VI orchestras is derived from the receipts from the
regular concert series, the remainder coming principally
from gifts.

FOUR

PERSONNEL PROBLEMS

PERSONNEL costs are the major item of expense for all
symphony orchestras, except those depending largely or
entirely on amateur musicians. The salaries of the players
and conductors represent from two-thirds to about three-
quarters of the total budgets of major orchestras and
from one-half to three-fifths of the budgets of those sec-
ondary orchestras which are professional to an appre-
ciable extent. For orchestras which are primarily ama-
teur, salaries, principally for conductors, are approxi-
mately two-fifths of total costs. If fees to soloists and
assisting groups are included, total personnel costs may
amount to as much as four-fifths of major orchestra
budgets and to nearly three-quarters of the professional
and semiprof essional secondary orchestra budgets.

Conductor and player costs for Group I major or-
chestras practically doubled from 1919-20 to 1928-29,
and rose from 50 per cent of the total budget to 63 per
cent. Since then, however, the relative importance of
these costs has remained about the same, except during
the worst years of the depression. Whereas cuts were
made in other costs which could be reduced more easily

96

Personnel Problems 97

than salaries, player and conductor costs rose by 1932-33
for Group I orchestras from 63 to 67 per cent of total
expense and for Group II orchestras from 73 to 77 per
cent. For the newer major orchestras of Group III,
established mainly since 1929, player and conductor
costs have declined from 74 per cent of total costs in
z 93 2 -33 to 6 7 P e r cent in 1937-38. This was due partly
to the fact that these orchestras felt obliged to increase
their expenditures for soloists and assisting groups, pro-
grams, music fees, and tours.

Player md Conductor Costs of Major Orchestras

The question of conductors' salaries has attracted par-
ticular attention in all discussions of orchestra finance,
owing chiefly to the very large sums received by a few
conductors. Although strictly comparable data are not
available, and considerable reliance must be placed upon
estimates, it appears that in 1937-38 the average annual
cost of conductors, including assistant and guest conduc-
tors, for the regular season was in the neighborhood of
$60,000 for Boston, New York, and Philadelphia com-
prising Group I major orchestras; $30,000 in Group
II; and $18,000 in the comparatively young orchestras of
Group III. It is probable that the greatest increases in
conductors' salaries took place from 1919-20 to 1928-29
when the average more than doubled and increased from
7 per cent to 10 per cent of total budgets. During
1932-33 further increases in conductor remuneration,
coupled with somewhat reduced total budgets, raised
conductor costs of the 3 Group I orchestras to about 18

98 America's Symphony Orchestras

per cent of the total expense. In recent years conductors
have represented about 10 per cent of the total expense
for all classes of major orchestras. With few exceptions
there has been little deviation from the average. In
1937-38 the ratio of conductor to total cost for one ma-
jor symphony was as low as 6 per cent and for another
as high as 14 per cent.

The possibility of reducing deficits by curtailing con-
ductors' salaries has often been discussed. Even if con-
ductors' salaries could be reduced, it is obvious that def-
icits would be lowered only slightly, except in Group I
where salaries are large and deficits relatively small. For
example, a 50 per cent curtailment in Group II conduc-
tors' salaries would result in only a 10 per cent reduction
in the average deficit. But even if savings could be ef-
fected in this manner the question would still remain as
to whether reductions in conductor costs might not also
involve loss of public support and diminished ticket sales.
The personality and ability of the conductor, for better
or for worse, carry much more weight with the average
American concert-goer than does the quality of the or-
chestra or the nature of the program. Although this
point of view has been exaggerated, it is founded on the
undeniable variations in ability among conductors. An
inspiring leader evokes the best efforts of his men and
achieves superior results, just as does an exceptional exec-
utive in business. For this reason there is no way of meas-
uring the suitability of conductors' salaries in terms of
statistics. They are and must continue to be determined
by competition in the open market. This question, to-

Personnel Problems 99

gether with that of the use of guest artists and soloists, is
an inseparable part of the larger problem of "merchan-
dising" symphony orchestras adapting symphony con-
certs to the desires of the actual and potential market
and promoting their wider acceptance.

She of Orchestra

In the final analysis the cost of the symphony orches-
tra is the cost of the men and is determined by three fac-
tors: the size of the orchestra, the length of the season,
and the rates of compensation. The number of men in
the orchestra has been a minor factor in the changes in
personnel costs since 1919-20. The Boston, New York,
and Philadelphia orchestras Group I averaged 97 play-
ers in 1919-20, increased to 108 in 1928-29, and dropped
to 102 by 1938-39. The average number of players in
Group II * orchestras rose from 84 in 1919-20 to 91 in
1928-29, and has remained at 86 since 1932-33. Group
III 2 orchestras have remained unchanged since 1932-33,
when they averaged 84 players. At the present rime,
therefore, as shown in Table V, the major orchestras
range in membership from 84 to 102, and average 88
members. The difference in size between Group II and
III orchestras and Group I is due principally to the re-
duced string and woodwind sections.

1 Group II is comprised of the Chicago, Cincinnati, Cleveland, De-
troit, Los Angeles, Minneapolis, St. Louis, and San Francisco or-
chestras.

2 Group III includes Indianapolis, Kansas City, Pittsburgh, Roches-
ter, and Washington, all of them formed comparatively recently.

ioo America'? Symphony Orchestras

TABLE V. AVERAGE NUMBER OF PLAYERS IN ORCHES-
TRAS OF DIFFERENT GROUPS: 1938-39

Section of Orchestra

Orchestra
Classification

Wood-
winds

Percus-
Brasses sion

Total Strings

No. % No. % No. % No. % No. %

Major Orchestras

Group I 102 100.0 66 64.7 17 16.7 14 13.7 5 4.9

Group II 86 100.0 58 67.4 12 14.0 12 14.0 4 4.6

Group III 84 100.0 55 65.4 12 14.3 12 14.3 5 6.0

Average for Ma-
jor Orchestras 88 100.0 59 67.0 13 14.8 12 13.6 4 4.5

Secondary Orchestras

IOO.O
IOO.O
IOO.O

50

44
34

65.8
64.7
61.8

ii
ii
9

14.5
16.2
16.4

ii

IO

9

14.5
14.7
16.4

5-2

4.4

5-4

43 64.2 10 14.9 ii 16.4 3 4.5

Group IV 76

Group V 68

Group VI 55

Average for Sec-
ondary Or-
chestras 67

Average for
all Orchestras 73 100.0 47 65.0 n 15.0 ii 15.0 4 5.0

Changes in the size of the orchestra have been some-
what more important in Group II than in the 3 Group I
orchestras. Several of the Group II orchestras attempted
to cut costs during the depression, partly by reducing
their personnel, principally in the string sections. The
most drastic cut in major orchestra personnel was in Cin-
cinnati where the orchestra was reduced from 105 play-
ers in 1928-29 to 89 in 1932-33, and to 78 by 1936-37.
This left the orchestra smaller by 17 strings, 4 wood-

Personnel Problems 101

winds, 3 brasses, and 3 percussion. Several Group n or-
chestras which retrenched during the depression have
now either regained their former size or slightly in-
creased it, while Cincinnati plans to return to a 90 piece
orchestra.

Length of Regular Season

The length of the regular concert season likewise has
been a minor factor in changing total personnel costs.
The season for the 3 Group I orchestras has remained
comparatively unchanged from 1919-20 to date, having
averaged 29 weeks in 1919-20 and 30 weeks in 1938-39.
While the regular symphony season in Boston is 30
weeks, the 10 weeks of "pop" concerts immediately fol-
lowing it have been so well established that in a sense
Boston may be said to have a full season of 40 weeks.
Group II orchestras consistently have had shorter seasons
than those of Group I and furthermore attempted to
curtail expenses by shortening the season during the de-
pression. Although the average Group II orchestra sea-
son increased from 26 weeks in 1919-20 to 28 weeks in
1928-29, it was subsequently cut to 25 weeks where it
has remained since 1936-37. Group III orchestra seasons
average 22 weeks.

Major Orchestra Personnel Salaries

Compensation in all major orchestras, with one excep-
tion, is based upon an agreement negotiated with the

102 America's Symphony Orchestras

local musicians' union, 3 specifying a minimum weekly
wage for players, a guaranteed number of weeks' em-
ployment, and the "number of services" 4 per week or
season which the orchestra may demand of the player.
Obviously the minimum salary is determined in part by
the other two factors.

The greatest rise in orchestra personnel salaries oc-
curred during the period from 1919-20 to 1928-29. The
minimum weekly salary for Group I orchestra players
rose from an average of $53 to $82, or 55 per cent. In
view of the variation in length of season, the minimum
season salary rose 60 per cent, from $1,700 to $2,678.
An even more rapid rise in the compensation of players
paid above the minimum increased the average season
salary for the orchestra as a whole from $1,877 to $3335>
or about 75 per cent. In Group II the weekly minimum
rate increased during the same period from an average
of $48 to $60, or 25 per cent, while the season minimum

3 The American Federation of Musicians, affiliated with the Amer-
ican Federation of Labor, is a national craft union with local semi-
autonomous units. These units have authority over local rates of pay,
conditions of employment, and the importation of other union play-
ers from locals outside their jurisdiction. The Federation of Musi-
cians embraces professional musicians of all kinds, and symphony
players represent but a very small proportion of its total member-
ship. The Boston Symphony Orchestra is the only nonunion major
organization. The arrangement with the union usually involves a
trade agreement with the employing organization which specifies
minimum rates and general conditions of employment and, in addi-
tion, may stipulate the total number of players to be hired, as well
as the number that may be imported. Individual contracts based upon
this trade agreement are entered into by the employing organiza-
tion and the individual players.

4 A service is the basic unit of the union trade agreement and
player contracts. It represents a unit of specified number of hours
applicable to either concerts or rehearsals.

Personnel Problems 103

rose 27 per cent, from $1,248 to $1,584. Data on average
salaries for Group II orchestras are not available. These
rises in rates of compensation were even more important
factors in increasing orchestra budgets than were the ad-
ditions made to orchestra personnel and the slightly ex-
panded seasons.

During the period from 1928-29 to 1937-38 the mini-
mum rate has not changed materially for Group I and
II orchestras. Although the average weekly minimum
dropped from $82 to $76 by 1932-33 for Group I or-
chestras, by 1936-37 it had regained the 1928-29 level.
The minimum season salary dropped from $2,678 in
1928-29 to $2,463 by 1932-33, but by 1937-38 had
reached $2,708, a net gain of i per cent for the decade.
In contrast, the Group II weekly minimum remained un-
changed at about $60 in all but two orchestras, although
the drop in these two brought down the average for the
group 10 per cent by 1936-37. By 1937-38 the average
weekly minimum for the group had risen to $62, or 3
per cent above the 1928-29 level. Owing partly to short-
ened seasons, the minimum season salary dropped con-
siderably so that by 1936-37 it was 16 per cent below
1928-29. By 1937-38 it had risen to i per cent above
that year's figure $i, 608 as compared to $1,584 owing
to the rise in the weekly minimum.

Because of their comparatively recent establishment, it
is impossible to give trends for Group III orchestras. At
least 3 of these orchestras in 1932-33 were paying their
men on a per-concert-and-rehearsal basis similar to that
used by the majority of secondary orchestras. By 1937-38
all of the group were established on a weekly minimum

104 America's Symphony Orchestras

salary basis with an average of $51 per week and $1,156
per season.

Since only about half 5 of the orchestra members are
paid at the minimum rate, average salaries have been con-
siderably higher. Despite the small fluctuations in the min-
imum weekly salary rates, the average season salaries have
varied considerably and have been a major factor respon-
sible for changing personnel costs and total budgets. Al-
though weekly minimum rates for Group I orchestras-
Boston, New York, and Philadelphia had dropped 10
per cent between 1928-29 and 1932-33, the average sal-
ary decreased only 4 per cent. By 1937-38 the average
season salary for this group had risen to $3,6159 per
cent above the 1928-29 level, in contrast to a 2 per cent
rise in the minimum.

While average salaries for Group I players went off
less than did the minimum, in Group II they declined
more sharply than minimum rates. By 1936-37 the aver-
age season salary for Group II orchestras was 23 per
cent below the 1928-29 figure as compared to a 16 per
cent drop in the minimum season compensation. Al-
though minimum season salaries in 1937-38 were i per
cent above, the average season salary of $2,038 was still
1 6 per cent below 1928-29. Group III average salaries
in 1937-38 were $1,171, only $15 above the season's
minimum.

The season salaries of principal players, in turn, are
considerably higher than those for the rank and file of
the orchestra. Although records are insufficient to estab-

5 The proportion of players employed at the minimum rate varies
considerably from orchestra to orchestra.

Personnel Problems 105

lish trends, it is probable that at the present time salaries
of principal players for Group I orchestras average about
$5,000 and may go as high as $7,500, or $9,000 in a few
cases. For Group II the average for principal players is
probably slightly above $3,300 and for the more recently
established Group III in the neighborhood of $2,100.
There are about 1 6 or 17 of these players in major or-
chestras of all classes.

While generalization is difficult because of varying
practices in different orchestras, it appears that Group I
orchestras with relatively high minimum and average sal-
aries attempted to retrench during the depression by re-
ducing minimum rates and average compensation rather
than by cutting the size of the orchestra or the length of
the season. Group II orchestras, on the other hand, gen-
erally maintained their minimum rates, but reduced sal-
aries above the minimum. In addition they curtailed
the size of their orchestras and slightly shortened their
seasons.

Supplementary Income for Major Orchestra Players

Because of the relatively low minimum and average
salaries for regular seasons, the players in major orches-
tras have been forced to seek various ways to supplement
their income. The principal means now open to them are
teaching, playing in other orchestras, and playing in sup-
plementary summer or other seasons. These supplemen-
tary seasons may be presented by the orchestra as an
entity or by another enterprise employing part or all of
the orchestra.

106 America's Symphony Orchestras

Teaching is always a possibility for the better play-
ers, although school work and group instruction have
minimized these opportunities as compared to twenty or
thirty years ago. While only scanty indications are avail-
able regarding the extent of teaching by orchestra players,
a study of several representative Group II and III orches-
tras revealed that about 62 per cent of the members do
some teaching. 6 It is quite probable that teaching oppor-
tunities are greater for players in the 3 Group I orches-
tras. Playing in other orchestras or ensembles is a much
less fruitful source of supplementary income. Theaters,
motion picture houses, hotels, and restaurants no longer
afford as many opportunities for employment as they did
fifteen years ago. A few major orchestra players, espe-
cially in the larger centers, have occasional engagements
with secondary orchestras. Only about 10 per cent of
Group II and III orchestra members providing informa-
tion on these points derived income from these sources.
Radio work for symphony orchestra players is extremely
limited 12 per cent of the group sampled being em-
ployed in this fashion. Work in motion picture studios
has been important only in two cities Los Angeles and
New York. These opportunities, as well as many others,
have been restricted by the contracts between the players
and the orchestra, which often prohibit acceptance of
other musical engagements that might lessen the effi-
ciency or that, because of their nature, might not be in
keeping with the dignity of the orchestra. In some cases

6 Based on questionnaires filled out by the majority of the mem-
bers of the Cleveland, Minneapolis, Los Angeles, and Indianapolis
orchestras.

Personnel Problems 107

union regulations have closed avenues of supplementary
employment to members under contract to symphony
orchestras. Union restrictions have applied particularly
to players who have been imported by the orchestra
from other cities and who have not been accepted as full
members 7 of the local union. These musicians conse-
quently have been barred from securing any other mu-
sical employment within the jurisdiction of the local

union.

The principal source of supplementary income for
symphony players throughout the country has been vari-
ous types of summer concerts. In some cases these have
been given by the orchestra as a unit, either under its
own or separate management, while in other instances
supplementary engagements are offered by enterprises
employing a part of the orchestra personnel. Summer
seasons are given by the orchestra in Boston, Philadel-
phia, New York, Los Angeles, Detroit, Minneapolis, and
Washington. The Cleveland summer "pop" concerts em-
ploy part of the orchestra as do the Cincinnati "Zoo"
opera and concerts, the St. Louis summer light opera, the
Ravinia Park and Grant Park concerts in Chicago. The
St. Louis and Cincinnati summer opera seasons provide
income for about one-half and two-thirds of the orches-
tras, respectively. A seven-week opera season, which tra-

7 When permitted by the local union, members of out-of-town
locals may play in the orchestra on a temporary basis; but their em-
ployment may be restricted to work in the symphony until they are
accepted as full members in the local union. At the 1939 convention
of the American Federation of Musicians a rule was passed to the
effect that a transferred musician, after being in town three years,
must be accepted by that local union.

io8 America's Symphony Orchestras

ditionally precedes the opening of the symphony season,
engages a part of the San Francisco orchestra. Most of
these seasons range from six to eight weeks' duration.

In most cases the minimum and average salaries for the
summer series are lower than for the regular season. As-
suming that the summer minimum weekly salary for
Group I orchestras may be about $60, the supplementary
income for a six-week engagement may range from $360
to a top of $750 and possibly average $400. This would
bring the yearly salary for the minimum players to about
$3,000, the principals to $6,000, and the average in the
neighborhood of $4,000. The very best principal players
may thus bring their annual income up to $8,000 or
more, but very few of this rank are engaged for the

summer seasons. 8

In Group II orchestras the summer minimum may be
or $50 a week, adding from $240 to $300 to the in-
comes of those receiving the basic figure. The yearly
salary for minimum players therefore may slightly ex-
ceed $1,800, reach $3,800 for the principals, and average
$2,400. It should be remembered that for several of these
Group II orchestras this form of supplementary income
is available to only part of the orchestra. For others, fur-
thermore, the summer concerts are on a co-operative
basis, the men playing without guarantee and sharing the
net proceeds after expenses. Under these conditions the
players sometimes have received as little as $18 or $22 a
week.

8 While some orchestras retain their full size for summer concerts
their regular first players are often replaced by others at lower salary
and a larger proportion of the orchestra is paid at the minimum
rate than during the winter season.

Personnel Problems 109

Only one Group III orchestra, the National Sym-
phony Orchestra of Washington, has been able to estab-
lish a season of summer concerts.

Most of the managers and many board members rec-
ognize the necessity of developing summer seasons on a
more stable and satisfactory basis both to improve the in-
come of the players and to promote wider public interest
in the orchestra.

Who Are the Orchestra Players?

t On the whole average salaries of orchestra players
have tended to rise except for the setback during the de-
pression. This has been due partly to the necessity of
keeping pace with rising price levels and also partly to
the widening market and increased competitive bidding
for competent symphony musicians. The organization of
each new major orchestra has afforded a number of op-
portunities for players imported from established orches-
tras to strengthen the new ensemble. With these changes
in opportunities and compensation has come a change in
the type of person entering the profession.

While no special studies are available, it is recognized
that the level of general education, as well as musical
training, is considerably higher than two or three dec-
ades ago and that the proportion of native-born musi-
cians is much greater. It has been estimated by persons
acquainted with the field that about 70 per cent of major
orchestra personnel twenty years ago were, foreign-born,
whereas today these represent only 20 to 30 per cent of
the total. This generalization is confirmed by a survey

no America's Symphony Orchestras

of the personnel of 4 representative orchestras in Groups
II and III, 9 which indicated that about 70 per cent of
the members are native born and the average age is
thirty-five. Foreign-born players in one orchestra, how-
ever, constituted more than half of the total number, a
ratio which is probably correlated with the relatively
high average age of forty-eight years. One of the newer
orchestras, on the other hand, with a large proportion of
young musicians and an average age of twenty-seven, is
about 90 per cent American born.

About 55 per cent of these orchestra musicians studied
in American conservatories and 85 per cent with Ameri-
can coaches and teachers. This indicates that a large pro-
portion, even of the foreign-born, have received at least a
part of their musical education in this country. About
20 per cent of the group have studied with foreign
teachers, but these include both foreigners and Ameri-
cans who have studied abroad. While schools of national
prominence such as Curtis, Juilliard, and Eastman 10 have
contributed comparatively large numbers of players, 50
other American conservatories are represented in the or-
chestras which returned personnel questionnaires.

While the cost of training for professional musicians
cannot be determined as easily as for doctors and law-
yers, estimates by the musicians themselves indicate that
the expense of their purely professional training is about
$3,000. The average cost of their instruments, on the

9 See footnote 6, p. 106.

10 The Civic Orchestra of Chicago and the National Orchestra
Association, both training orchestras, have been important sources of
orchestra personnel. See Chapter Two, p. 63.

Personnel Problems

in

basis of the players' own estimates, was approximately
$1,500. Practically all of the orchestra musicians have
had a high-school education and 40 per cent have at-
tended colleges and universities. From available data it
appears that more than 40 per cent of the players had no
professional symphony experience prior to engagement
by their present orchestra. About 30 per cent had played
in other major orchestras, 20 per cent in secondary or-
chestras, 12 per cent in foreign symphonies, 8 per cent
in foreign opera, and an equal proportion in American
opera. It is obvious that there has been an overlapping of
experience and, for example, the 28 per cent who played
in other major orchestras probably include some of those
with secondary orchestra experience.

The Problem of Cost Reduction

Since only few economies could be effected in con-
ductor costs, and since the principal cost is personnel,
proposals for cutting orchestra budgets center largely
about reductions in the size of the orchestra or readjust-
ments in compensation. Reduction in the number of
players has not been found an important or satisfactory
means of economy. With the repertoire demanded by
audiences of today, a definite limit is placed beyond
which the woodwind, brass, and percussion sections can-
not be curtailed. As a result of this the string sections
cannot be greatly diminished without impairing the bal-
ance of the orchestra. Furthermore, if the auditorium is
large, a full complement is necessary to produce a satis-
factory quality and volume of tone. Moreover, the fact

ii2 Americas Symphony Orchestras

that audiences everywhere are listening to radio broad-
casts and tour concerts of other orchestras, and making
comparisons with the local organization, creates a de-
mand for large orchestras. Where the experiment of seri-
ously curtailing the size of the orchestra has been tried,
it has proven unsuccessful and the board of directors
have discovered that it is difficult to finance the smaller
sum required by an obviously impaired orchestra. For
these reasons, the younger orchestras of Group III are
tending toward the same size orchestras as Groups I
and II.

From the point of view of budget balancing, attempts
to readjust the bases of compensation are directed to-
ward lowering the production cost per concert. This in-
volves either reducing the minimum and average salary
scale, or increasing the number of concerts available for
sale without a proportionate increase in personnel costs.
Since the present minimum and average season salaries
are already relatively low for most major orchestras, few
if any economies can be effected here. The only alterna-
tive, therefore, is to sell a larger number of concerts at a
reduced cost per concert. This can only be effected by
modifying the union agreement.

Union agreements at the present time are designed to
maintain the maximum rate per service. The union agree-
ment fixes the cost per service by specifying the num-
ber of services that can be demanded either for each
week or for the season as a whole. A few agreements go
so far as to specify the ratio of concerts to rehearsals
within a given week. This policy is in keeping with tra-
ditional union economic theory, usually emphasizing

Personnel Problems 113

rates of pay per unit more than total income, and is given
force by the perfectly justifiable fear of the unions that
reductions in the weekly minimum will not be accom-
panied by guarantee of reasonably stable lengthened em-
ployment and consequent improved total income. The
effect of the union agreement thus is to make impossible
an increased number of concerts without a proportionate
increase in costs. 11

Other than actual reduction in player salaries, which
in view of present levels is impractical, the only modifi-
cations of the union agreement that would make possible
an increasing number of concerts at a decreased unit cost
are: (i) to increase the number of available services
while retaining the present minimum rate of pay and
length of season, and (2) to decrease the weekly mini-
mum salary without curtailing the number of services
per week, but to lengthen the season to a point where
players will receive a higher annual wage. Since, in most
cases, the number of concerts and rehearsals per week
could not be appreciably increased without undue physi-
cal demands on the personnel and consequent impair-
ment of the quality of the performance, the first alterna-
tive is impractical.

The practicability of the second alternative depends
upon the possibility of selling the increased number of
concerts. Answer to this question depends upon how

11 It has been suggested by some that the ratio of rehearsals to
conceits, whether or not specified in the union agreement, be
changed to result in more income-producing services. It has been
fairly well demonstrated, however, that the quality of performance
cannot be maintained to a point assuring public support if the num-
ber of rehearsals per concert is reduced past a certain point.

1 14 Americas Symphony Orchestras

fully orchestras have been merchandised in the past and
the extent to which the potential concert audience has
been reached. Undoubtedly a number of orchestras have
a long way to go in selling out their present seasons
before they could consider lengthening schedules. This
holds true whether or not the orchestra now has both
summer and winter seasons. In a good many cases this
would require considerable experimentation and addi-
tional financing during the experimental period. The ex-
perience of the Boston Symphony Orchestra in length-
ening its season and in adapting the type of concerts to
the varying demands of the public is outstanding. The
superb "merchandising" of the regular symphony sea-
son, the ten weeks of "Pop" concerts, the Esplanade and
the Berkshire series over a period of time have enabled
this organization to pay the highest average annual wage
with a relatively low weekly average for a long season,
to produce its concerts at a lower than average cost per
concert, and to earn a higher proportion of its budget
than any other major orchestra. But it should be noted
that this accomplishment has been largely facilitated by
the absence in Boston of the inflexibility imposed by the
usual union agreement.

Orchestras that have summer concerts are doing much
the same thing if the summer and regular seasons are
viewed together as a unit. Maintaining a high minimum
and average for the regular season, and lower rates for
the summer, may net the players about the same income
as a longer season with a minimum falling somewhere
between the winter and summer rates. However, one of
the factors contributing to the maintenance of these two

Personnel Problems 115

rates has been the relative uncertainty of the summer
season which can be more easily curtailed or omitted.
Separate management of the summer season adds to this
uncertainly. Another factor impeding the amalgamation
of the two seasons has been the fear on the part of the
management and boards of directors that negotiations
for one longer inclusive season would not induce the
union to lower the weekly rate sufficiently to result in
as low net total costs for the two seasons as under exist-
ing conditions. A number of managers and board mem-
bers, however, are of the opinion that it would be ad-
vantageous ultimately to integrate the summer and regu-
lar schedules under a single management as a means of
assuring greater economic stability for the men and the
orchestra. Summer concerts are still largely in an ex-
perimental stage and, until a stable demand for them has
been demonstrated, the integration of the summer and
regular seasons is probably out of the question.

Assisting Artists and Groups

Another expense closely related to orchestra person-
nel cost is that of soloists and assisting groups. The use
of guest artists varies among different orchestras. In
Group I these account for 3.1 per cent of the total ex-
pense, in Group II, 6.3 per cent, and in Group III, 5.2
per cent. Assisting artists account for 1 3 per cent of the
budget of Group IV and V secondary orchestras, and
4.8 per cent of Group VI costs. While in a sense the
engagement of artists is a personnel problem and man-
agers and boards of directors of practically all orchestras

n6 America's Symphony Orchestras

have pondered the extent to which economies can be
effected in this item, the problem is primarily one of mer-
chandising and cannot be considered separate from the
response of ticket receipts to the conductor, the quality
of the orchestra, and the whole program policy. 12 The
question is whether or not the guest artist will increase
receipts sufficiently to pay the cost of his appearance.
Single seat sales are not an adequate criterion of the
financial value of soloists and assisting groups. Judged on
this basis alone very few artists would pay for them-
selves. The extent to which the inclusion of soloists in
the regular season schedule increases subscription sales-
the really important factor is impossible to measure. The
Boston Symphony, it should be noted, with a relatively
large number of concerts, high annual salaries, and a bet-
ter than average operating ratio, spends the smallest pro-
portion of its budget on soloists.

Secondary Orchestras

Personnel expense is likewise the most important single
budget item for secondary orchestras in Groups IV, V,
and VI, even for those predominantly amateur in Group
VI. A few of the ambitious secondary orchestras have
personnel costs as high as $50,000 and the composition
of their budgets closely resembles that of major orches-
tras in Group III. For Group IV as a whole, however,
personnel costs average about f 10,000, or 60 per cent of
the budget, while for the largely amateur Group VI or-

12 Since this question is so closely related to programming, it is dis-
cussed principally in Chapter Six.

Personnel Problems 117

chestras, these costs may be no more than $200 and ac-
count for about 40 per cent of the total expense.

Conductor costs for all secondary orchestras probably
represent a considerably higher proportion of the total
budget than for the majors. In fairly well-established
Group IV orchestras the conductors may receive $5,000
to $6,000, but in some cases they may be paid no more
than a few hundred dollars a concert. For Groups V and
VI with a greater number of amateurs, the conductor's
remuneration may be the most important cost item. Al-
though it is true that the conductor represents a large
part of the total cost of secondary orchestras, his func-
tion is largely different from that of major orchestra con-
ductors. While he is not primarily a box-office attraction
as a star performer, the secondary orchestra conductor is
usually the principal salesman and public relations force
for the organization. Since in most cases the management
is amateur, a great deal of the business detail falls upon
the conductor. He must be a teacher as well as a con-
ductor. One of our secondary orchestra conductors de-
scribes the usual role as follows:

"He was willing to start with any musical material at hand
and to teach, inspire and cajole in order to raise the standards
of his orchestra until it was worthy of some form of organ-
ized public support. In the majority of cases, he was not
only the conductor, but the business manager and advertis-
ing agent as well. He probably wrote the publicity and got
out copy for the program and program notes. He fre-
quently bought the music and guaranteed the rent of the
hall and for his vision and unselfish service he has had his
sole reward in the satisfaction of knowing that he was in a
sense a prophet and bringer of light."

n8 America's Symphony Orchestras

Generally speaking, the conductors of these secondary
orchestras have begun as instrumentalists, usually on or-
chestral instruments, or have been employed in some
other musical capacity in the local high-school or college
music department. If he has been an instrumentalist, he
has acquired his ideas and ambitions regarding conduct-
ing while playing under other leaders. If he has come
from the teaching field, he has secured experience with
the local student orchestras or ensembles. Often these
conductors have had the advantages of instruction in one
of the large music schools and have made a study of
conducting.

Secondary orchestras are generally smaller than the
Group III major orchestras and vary in size from an
average of 55 for Group VI to 76 in Group IV. 13 The
woodwind, brass, and percussion sections for Groups IV
and V are about the same size as those of Group II and
III major orchestras, but the string section is consider-
ably smaller. Group VI orchestras are smaller through-
out, though again the greatest reduction occurs in the
string section.

The proportion of amateur musicians increases as the
budget decreases. Group IV orchestras are approxi-
mately one-quarter amateur, Group V, two-thirds, and
Group VI, more than three-quarters. An important fac-
tor among secondary orchestras is the proportion of
women players who find here their principal opportu-
nity for acquiring symphony experience. Women are
beginning to appear, however, in the major orchestras
to a greater extent than formerly.

is See Table V, p. 100.

n8 America's Symphony Orchestras

Generally speaking, the conductors of these secondary
orchestras have begun as instrumentalists, usually on or-
chestral instruments, or have been employed in some
other musical capacity in the local high-school or college
music department. If he has been an instrumentalist, he
has acquired his ideas and ambitions regarding conduct-
ing while playing under other leaders. If he has come
from the teaching field, he has secured experience with
the local student orchestras or ensembles. Often these
conductors have had the advantages of instruction in one
of the large music schools and have made a study of
conducting.

Secondary orchestras are generally smaller than the
Group III major orchestras and vary in size from an
average of 55 for Group VI to 76 in Group IV. 13 The
woodwind, brass, and percussion sections for Groups IV
and V are about the same size as those of Group II and
III major orchestras, but the string section is consider-
ably smaller. Group VI orchestras are smaller through-
out, though again the greatest reduction occurs in the
string section.

The proportion of amateur musicians increases as the
budget decreases. Group IV orchestras are approxi-
mately one-quarter amateur, Group V, two-thirds, and
Group VI, more than three-quarters. An important fac-
tor among secondary orchestras is the proportion of
women players who find here their principal opportu-
nity for acquiring symphony experience. Women are
beginning to appear, however, in the major orchestras
to a greater extent than formerly.

is See Table V, p. 100.

Personnel Problems 119

Secondary orchestra members are almost entirely
American born and their average age is thirty-two
years. 14 Virtually all of them have had American teach-
ers and coaches, while 30 per cent have attended Ameri-
can conservatories. Only 5 per cent have studied abroad;
12 per cent have received part of their musical education
in high schools, and about 10 per cent in colleges. Al-
most all have had high-school education and 44 per cent
have attended colleges and universities. Very few have
had previous experience in other symphony orchestras,
except those imported occasionally from major orches-
tras in near-by cities to bolster the professional nucleus.
The professional musicians in the average secondary or-
chestra are usually local music teachers. Approximately
30 per cent of the orchestra personnel play in other sec-
ondary orchestras, usually those in near-by cities. The
amateur members of the average secondary orchestra are
drawn principally from the clerical, professional, and
business groups in the community.

Most of the Group IV secondary orchestras have
agreements with the local union, of which all the profes-
sionals are members. In some cases the amateur members
also pay union dues. The union is usually co-operative
and seldom raises objections to amateurs and profession-
als playing together. Often the professionals alone are
paid, although occasionally the amateurs and profes-
sionals are on the same bask Payment is generally at a
specified rate per concert and rehearsal, ranging from
$10 to $20 for each concert, including the 5 to 7 cus-

14 Based on questionnaires returned by the majority of members
of the orchestras of Grand Rapids, Mich,, Harristmrg and York, Pa.

120 America 9 s Symphony Orchestras

ternary rehearsals. Arrangements for compensation in
Group V orchestras are about the same as for Group IV,
except that the number of rehearsals is about double. For
Group VI, primarily amateur, a few players receive pay-
ment for concerts, but almost none for rehearsals.

FIV]

ORCHESTRA MANAGEMENT AND
OPERATION

THE organization and management of symphony orches-
tras obviously are designed for two purposes: to produce
and sell concerts, and to raise funds to bridge the gap be-
tween operating income and expense. Although there is
considerable variation among groups of orchestras, and
even among those in any given group, symphony orches-
tra organizations are fashioned from four basic elements:
( i ) a board in which rests the policy-making authority;
" (2) a sustaining organization, which, though it may elect
the board and hold voting control, serves mainly as a
device for widening financial support; (3) one or more
auxiliary groups with no voting power which constitute
additional money-raising machinery; and (4) a manage-
ment which conducts the routine business of putting on
a season of concerts and co-ordinates the activities of the
various parts of the organization.

Basic Organization Major Orchestras

The organization of major symphony orchestras fol-
lows two general lines: a small, self-contained, self -per-

121

122 America's Symphony Orchestras

petuating group who are the principal source of finan-
cial support, and a larger, more democratically consti-
tuted body with potentialities for enlisting more wide-
spread community assistance.

The small, self-contained organization has taken sev-
eral forms among the major orchestras. The affairs of the
Boston Symphony Orchestra are administered by a self-
perpetuating board of n members. In Philadelphia, a
board of 2 1 members performs a similar function. In some
cities the board is elected or appointed by a sustaining
organization with limited membership. The Chicago Or-
chestra Board of 1 5 is elected by the Orchestra Associa-
tion, a self -perpetuating body of 40 life members. The
Cincinnati Symphony Orchestra has a board of 10 ap-
pointed by the president of the Cincinnati Institute of
Fine Arts from among the 19 trustees of the Institute.
The Institute itself is a nonprofit corporation organized
under a broad charter to further the musical and artistic
education and culture of the people of Cincinnati. At
present it owns and operates the Cincinnati Symphony
Orchestra, the Cincinnati Conservatory of Music, and
the Taft Museum. In addition, it gives the Sachs Scholar-
ship in fine arts, contributes to the Cincinnati Art Mu-
seum, and occasionally underwrites civic entertainments.
In Cleveland a somewhat broader base is found in a board
of 40 elected from the membership of the Musical Arts
Association, a self -perpetuating group of 147. The Phil-
harmonic Orchestra of Los Angeles is supported by the
Southern California Symphony Society, the entire vot-
ing power of which is vested in a self -perpetuating board
of 5 1 trustee members.

Management and Operation 123

The supporting group of a number of orchestras has
an even broader base. In Minneapolis, Detroit, and In-
dianapolis the boards are elected by a sustaining organi-
zation, membership and voting power in which is con-
fined to individuals contributing $100 or more to the an-
nual maintenance fund. In Minneapolis a board of 50 is
elected from a membership of 300; in Detroit 36 board
members are chosen by an association of 400; in Indian-
apoliswhich became a major orchestra in 1937 there is
a board of 1 1 elected by the 89 members of the Indiana
State Symphony Society.

Provision has been made in a number of instances for
still broader control. The 20 members of the board of
Washington's National Symphony Orchestra are elected
by the 950 members of the sustaining organization. Mem-
bership in the National Symphony Orchestra Association
is open to anyone contributing $25 or more to the annual
maintenance fund campaign. In addition to the privilege
of voting, members each year are the guests at a concert
given especially for them. Membership in the Pittsburgh
Symphony Society also is open to all contributors of $"25
or more to the orchestra's financial campaign, and mem-
bers elect the society's board of 70. The New York Phil-
harmonic-Symphony Society Board of 32 is elected by
the 650 who become members by the payment of $10 or
more annually. The Rochester Civic Music Association,
which in addition to maintaining the Rochester Civic
and Philharmonic Orchestras engages in a variety of mu-
sical and cultural activities, is comprised of all persons
contributing $5 or more to its annual financial campaign.
The association has a membership of over 3,000 and these

124 America's Symphony Orchestras

elect a board of 84. The Kansas City Philharmonic Or-
chestra Association has the largest board among the ma-
jor orchestras 158 members elected by all those con-
tributing to the orchestra's financial campaign. These
numbered approximately 2,800 for the 1938-39 season.

With the exception of Boston, Cincinnati, Philadel-
phia, and Detroit, the first two of which have small
boards, the governing activity of the orchestra boards is
concentrated in an executive committee. Most of these
are small, ranging from 5 to 12 members, although the
executive committee of the Cleveland board has 17 mem-
bers, and that of Kansas City 30. Six of the orchestras
also have small finance or budget committees, but, other
than these, committees are seldom used as an adjunct to
board activity.

The administrative staff of the average major sym-
phony orchestra numbers from 5 to 10 members, includ-
ing part-time employees, although the New York Phil-
harmonic-Symphony Orchestra staff is comprised of 16
persons. The usual administrative staff consists of a man-
ager, an assistant or business manager, 2 or 3 clerical or
secretarial workers, and a publicity man. One-half of the
orchestras employ their publicity man on a part-time
basis. In addition, the Cincinnati, Kansas City, Pitts-
burgh, and Indianapolis orchestras have a full-time paid
secretary or director for women's activities. The Roches-
ter Civic Music Association and the National Symphony
Orchestra of Washington have a special executive in
charge of money-raising routine, Washington on a part-
time basis and Rochester full-time.

Management and Operation 125

Major Orchestra Auxiliary Orgmizcttions

Symphony orchestras are making increasing use of
various types of auxiliary organizations to assist in ticket
selling, deficit financing, and promotional work. These
organizations have no direct voice in the affairs of the
board or principal sustaining group. They usually have
no membership dues and rely heavily upon volunteers.

The most important form of auxiliary organization is
the women's committee. These are maintained by vir-
tually all of the major orchestras and range from 150
members in the case of the New York Philharmonic-
Symphony Society to more than 2,000 in Cincinnati.
There is usually no membership fee, although in some
cases nominal dues are charged to defray clerical ex-
pense. An exception is found in the Women's Committee
of the New York Philharmonic-Symphony Orchestra.
This committee is comprised of two classes of members:
donors, contributing from $25 to f 100, and contributing
members, giving over $100 annually. Members of the
Women's Committee contributing more than $1,000 an-
nually are eligible for election to the Women's Auxiliary
Board, whose function is to administer the work of the
committee and to consult with the Philharmonic-Sym-
phony Society Board.

Although the chief activity of women's committees is
the sale of subscription tickets, they also play an impor-
tant part in fund raising. During the 1939 financial cam-
paign in Philadelphia, the Women's Committee raised
about 30 per cent of the $100,000 total. In addition to

126 America's Symphony Orchestras

its ticket-selling campaign, the Indianapolis Women's
Committee assumes responsibility for izY 2 per cent of
the orchestra's maintenance fund, while the Detroit
Women's Committee also pledges and raises a certain
amount of the orchestra fund.

A recent development among women's committees has
been the organization of units in outlying communities,
principally for promotion and ticket selling. The fifteen
subcommittees organized by the Indianapolis Women's
Committee in communities within a seventy-five-mile
radius of the city are an illustration of this practice.

Other activities of women's committees include gen-
eral promotion, sponsorship of children's or youth's con-
certs, and, recently, the formation of adult music appre-
ciation groups. Among the general promotional work
carried on by women's committees are social functions
designed to build an esprit de corps among various groups
of women in the community, sending speakers to clubs
and civic groups, and enlisting the interest and co-opera-
tion of merchants in placing displays in their stores, and
disseminating folders and leaflets. In St. Louis, the ef-
forts of the women's committees are concentrated to a
considerable extent upon the promotion of educational
concerts in the schools, and a junior division of the com-
mittee raises money for the distribution of tickets to
young students. The Young People's Symphony Or-
chestra Association of Minneapolis, a women's group,
confines its efforts to sponsoring the young people's con-
certs of the orchestra. The Cleveland Women's Commit-
tee has been particularly successful in organizing adult
music appreciation study groups which, in the spring of

Management and Operation 127

1939, totaled approximately six hundred members. In
connection with this work, the committee maintains a
circulating library of records and scores which are avail-
able to members at a charge of three cents a day.

The Cincinnati Woman's Committee

The most comprehensive organization and program at
present is found in the Woman's Committee of the Cin-
cinnati Symphony Orchestra, the work of which largely
has been developed and organized by Mrs. Miles Ben-
ham, director of women's activities. The entire organi-
zation of the committee is pointed toward the increased
sale of season subscriptions for the regular concerts
and for the young people's series, with the emphasis
upon new business rather than renewals. The committee
is under the direct supervision of the manager of the or-
chestra. The president is appointed by the orchestra
board to serve for a term of one year and the director of
women's activities is a regular paid member of the sym-
phony staff. General supervisory authority is vested in
an Executive Committee composed of the president and
5 vice-presidents, a Policies Committee made up of past
presidents, and a Ticket Campaign Advisory Board.

The membership of the Cincinnati Woman's Commit-
tee is drawn from every social, civic, and educational
group in the city. No dues are charged, since previous
experience proved that requiring them was unsatisfac-
tory in so far as members felt the payment of dues re-
lieved them of the responsibility of working. Each mem-
ber now merely pledges a sincere desire to promote the

1 2 8 America's Symphony Orchestras

symphony welfare and to sell at least two new sub-
scriptions.

The Woman's Committee is organized in 30 special-
ized departments arranged in 5 groups, each under the
supervision of a vice-president. Departments, in turn, are
each broken down into approximately 10 separate com-
mittees of 10 members with functions which in no way
duplicate or overlap. Among the more important depart-
ments are the following: The Rotogravure Committee,
to have charge of the publication and sell advertising in
the special symphony rotogravure section of the Cincin-
nati Enquirer; the Business Relations Committee, to serve
as contact with retail stores for arranging displays, fash-
ion shows, literature distribution, and organizing em-
ployees' sales committees; the Radio Committee, to ar-
range for daily, weekly, and semiweekly programs on all
local radio stations during campaign periods; Out-of-
Town Committee, to arouse interest in cities adjacent to
Cincinnati; Music Club Department, to form committees
in all music clubs which, in turn, will canvass their re-
spective memberships for season subscriptions; the Pro-
fessional Department, to interest professional men in the
purchase of subscriptions; and the Young People's Con-
certs Committee, to promote the sale of season tickets to
young people's concerts in all schools and junior organi-
zations. 1

A Junior Woman's Department is organized along
similar lines and parallels but does not duplicate the ef-
forts of the Senior Woman's Committee. It enlists the

1 A complete outline of the Cincinnati Woman's Committee organi-
zation is to be found in Appendix A.

Management and Operation 129

services of scores of young women from high-school age
to thirty who can be utilized more effectively as a sepa-
rate group. The Co-ed Committee, for example, popular-
izes symphony concerts among students in colleges in
and near Cincinnati. The High School Committee per-
forms a similar function in die schools of greater Cin-
cinnati.

The effectiveness of the Cincinnati organization is in-
dicated by an increase in the number of season ticket
subscriptions of 1 50 per cent in three years, present sub-
scribers numbering approximately 5,500. It should be
kept in mind, however, that as complex an organization
as the Cincinnati Woman's Committee can be maintained
successfully only with adequate professional direction.
Moreover, the exact form of organization used by an or-
chestra must be determined largely by local conditions.
The Cincinnati committee, therefore, should be con-
sidered more as an indication of how comprehensive may
be the activities of a woman's committee where condi-
tions are favorable rather than as a pattern to be fol-
lowed literally in other communities.

"Friends of the Orchestra"

A form of auxiliary organization first used in Boston
and known as "Friends of the Orchestra" has gained pop-
ularity in recent years. Its activities are confined to fund
raising, and membership is open to all those who con-
tribute to the maintenance of the orchestra. "Friends of
the Orchestra" do not have any direct control of the or-
chestra's aff airs, although effort is made to give them the

1 3 o America's Symphony Orchestras

feeling that they are a vital part of its support. In Boston,
for instance, an annual meeting of the organization is
held at which plans and needs are presented for the com-
ing year, following which a special concert and tea are
given for those attending. Since its organization dur-
ing the 1936-37 season, the membership of the Boston
"Friends of the Orchestra" has grown to over 2,000. The
plan has been copied in Cleveland where members of the
organization are given a special concert, are the in-
vited guests at a rehearsal and at a national broadcast, or
similar orchestra functions, and are furnished periodic
bulletins regarding the work of the orchestra. The Cleve-
land plan differs from Boston in that ten classes of mem-
bership have been established, ranging from annual mem-
bers contributing amounts up to $10, to Foundation
Benefactors giving $10,000 or more. The Philharmonic-
Symphony League of New York performs a similar
function and has a regular membership fee of $10. Mem-
bers of the league are entitled to one or more special pri-
vate concerts, lectures on subjects related to the orches-
tra, its repertoire, and music appreciation, a private re-
cording of an unusual orchestral work made exclusively
for members, tickets for one regular Sunday concert,
and six monthly bulletins with advance notices of pro-
grams. The wide nonvoting membership of the Southern
California Symphony Society corresponds in effect to
the "Friends of the Orchestra." Membership is divided
into several classes: Patron Members, contributing $ 1,000
or more a year; Sustaining Members, $500-1999; Sup-
porting Members, $25o-$499; and Active Members, $100-
$249. Those contributing smaller amounts also are con-

Management and Operation 131

sidered as members. The society also has organized com-
mittees in cities adjacent to Los Angeles, several of which
have sponsored concert series by the Philharmonic Or-
chestra of Los Angeles in their own communities. Dur-
ing the 1938-39 season, the Santa Barbara Committee
purchased three concerts of the orchestra, while the San
Diego Committee also sponsored concerts.

In addition to these larger and more clearly defined
auxiliary organizations, there exists a variety of smaller
committees formed for promotional and money-raising
purposes. The Committee on Subscription Activities of
the Philharmonic-Symphony Society of New York was
formed to interest new audiences. Its membership is
drawn from current subscribers and averages between 75
and 100. It works through senior and junior committees
in New York City and various suburban committees.
The subcommittees contact clubs and organizations and
build lists of prospects. The committee also collects con-
tributions for the Student Ticket Fund and distributes
about r,ooo tickets each season for the free use of stu-
dents. Another Philharmonic-Symphony committee, the
Educational Committee on Contacts for Music Interest
in the Public Schools, distributes about 8,000 coupons
each season to public schools and colleges permitting pu-
pils to obtain regular-priced tickets at 25 cents each.

Secondary Orchestra Organization

All types of organization found among the major or-
chestras are imitated by the more important secondary
orchestras Group IV with annual budgets ranging from

1 32 America's Symphony Orchestras

$10,000 to $100,000. The principal differences are that
the ticket-selling and money-raising machinery is less
elaborate and that the management activities are con-
ducted largely on a part-time, volunteer basis*

All but four orchestras of this group which were stud-
ied in detail have sustaining organizations. Of these four
Baltimore is municipally operated, while the affairs of
the New Haven, New Orleans, and Dayton orchestras
are administered by small, self -perpetuating associations
or boards.

The Hartford organization resembles Los Angeles in
that it has a nonvoting membership of about 2,400 cam-
paign contributors, while the board of 17 is a self -per-
petuating group. The Civic Symphony Society of Den-
ver is composed of 2,000 members contributing $r or
more, who elect a board of 26. The Grand Rapids Sym-
phony Society includes all those who buy season tickets.
These elect 21 of the 22 members of the board, the other
one being chosen by the personnel of the orchestra.

Two interesting departures from the usual setup are
found in Harrisburg and Reading, Pennsylvania. Harris-
burg has a Symphony Society of 500 members who pay
$3 or more annually. The board of 1 1, however, is elected
by the members of the orchestra. In Reading, the princi-
pal financial assistance comes from a Musical Foundation
which supports not only the orchestra but a choral so-
ciety and a series of summer band concerts. Membership
in the foundation is limited to those contributing $25 or
more annually.

Since the boards of these orchestras are comparatively
ranging from n to 21 except in Buffalo which

Management and Operation 133

has 75 members-very few committees are used. Only 5
orchestras in the group have executive committees; aux-
iliary women's committees exist in only 4 cities-Harris-
burg, Wheeling, Kalamazoo, and Buffalo. Grand Rapids
at one time had a women's committee but it was found
that more effective work could be done by including the
most active women as members of the symphony board.

Only 2 of the 13 orchestras studied in this group, Kal-
amazoo and New Haven, have salaried, full-time man-
agers, while Harrisburg has a salaried, part-time man-
ager. The work of managing the other orchestras is per-
formed gratis by officers of the association or members
of the board. The only important paid member of the
business staff is a secretary or other clerical assistant who
has charge of ticket sales and sometimes keeps the books.
This is usually a part-time position.

The organization of the intermediate Group V second-
ary orchestras, with budgets of $1,000 to $10,000, is even
more simple. Only 8 of the 20 orchestras in this group
which provided detailed information have sustaining or-
ganizations. Membership is usually based upon the pay-
ment of dues which sometimes also cover the cost of a
season ticket, and the number of members generally
ranges from 200 to 300. The boards of these orchestras
are often larger than those of the major and more im-
portant secondary orchestras, due to the fact that the
board performs virtually all of the money-raising and
management work. Considerable use is made by orches-
tras of this class of specialized committees of i or 2
board members and only 4 have executive committees
and 2 have auxiliary women's committees. There were

America's Symphony Orchestras

only 6 salaried positions, 5 of them part-time, among the
20 orchestras studied. These included i part-time busi-
ness manager, 2 part-time publicity men, and 3 secre-
taries. Either the president of the board or a volunteer
business manager usually takes care of the details of or-
chestra operation.

Organization in the true sense is practically nonexist-
ent in Group VI orchestras with budgets under $1,000.
Boards are small, ranging from 7 to 10 members, and the
sustaining organizations, if they can be called such, con-
sist almost exclusively of subscribers to concerts. Since
the orchestras are largely co-operative the few commit-
tees that exist are composed principally of members of
the orchestras.

Functions of Boards

Although the different elements of organization vary
greatly from orchestra to orchestra, they are designed to
perform essentially the same functions. The board of di-
rectors has the responsibility for determining the funda-
mental policy and for raising the funds and creating the
administrative organization necessary to its execution.
This involves decisions upon matters such as the total
budget, size of orchestra, length of season, number and
kinds of concerts, and the choice of conductor. The
board also must decide upon the type of administrative
staff and the scope of its activities. This includes choos-
ing die manager and determining the budget available
for clerical and other routine assistance, advertising, pub-
licity, and public relations.

Management and Operation 135

The task of raising funds is primarily a function of the
board rather than of the management and involves the
board's decision as to the type and extent of financial
support which will be sought from the community, and
the setting up of the necessary machinery. Where the
initiative has been taken by a small self -perpetuating
group, this involves determination of whether there shall
be a sustaining organization and, if so, what shall be its
scope and power. Even when the board is elected by a
sustaining group, it is still faced with the task of shaping
the scope of membership and activities to money-raising
requirements and of formulating plans for effective op-
eration. The board must decide also whether additional
auxiliary groups are to be used for ticket selling or fund
raising, and, if so, their relation to the board and the sus-
taining organization. Decisions regarding all of these
matters involve not only a consideration of the principles
of business organization, but also a most careful regard
for all of the crosscurrents of community psychology,

Duties of Management

The management represents the executive arm of sym-
phony orchestra organization. In common with all exec-
utive departments it is faced with the joint task of super-
vising and carrying out details of operation and of devel-
oping policies and recommending them to the legislative
branch, in this case the board, and occasionally the sus-
taining organization. Upon the management's shoulders
also rests the task of co-ordinating and reconciling the
aims and activities of the many groups and individuals

136 America's Symphony Orchestras

concerned with symphony orchestra operation-the^ or-
chestra, the conductor, board, sustaining organization,
women's committee, and other auxiliary groups, musi-
cians' and other unions, publishers and copyright own-
ers, and sometimes the school authorities and city fathers.

The routine duties which the management must per-
form or supervise range from assisting the conductor in
planning the concert season to remembering the peculi-
arities of individual patrons when arranging their seating
in the hall. Between these two extremes lies a variety of
tasks which must be performed hiring and firing the or-
chestra personnel, contacting the press, handling the ad-
vertising, supervising the box office, arranging for the
printing of the concert programs, assisting the sustaining
organization and auxiliary groups with their work, pre-
paring and disseminating booklets, folders, and other
promotional literature, developing and keeping up to
date mailing lists, and, in addition, planning concert
tours and dealing with the multitude of detail which
arises when the orchestra is on the road.

The policy-making and advisory function of manage-
ment is especially important in the symphony orchestra
field because the manager is the only full-time, profes-
sionally experienced executive, and the boards, sustaining
organizations, and auxiliary groups are composed of ama-
teurs. Indeed, policy formulation and budget making fre-
quently devolve almost entirely upon managers where
they are competent and experienced. Effectiveness of
management, however, is conditioned by the frame in
which the board permits it to operate, and can be evalu-
ated only in that light.

Management and Operation 137

Problems of Symphony Orchestra Organization

Generalization as to the effectiveness of different types
of boards is made difficult by the fact that the satisfac-
tory performance of their functions depends less upon
their form of organization than upon their personnel. In
some cases board membership is dictated by social and
financial considerations rather than by a real interest in
music, business ability, or a knowledge and appreciation
of orchestra problems. Sometimes the effectiveness of
boards in gaining community financial support has been
hampered by their failure to include members represen-
tative of important social, economic, racial, and religious
elements in the community.

The tendency to consider symphony board member-
ship an honor rather than a responsibility has at times
impaired operating efficiency. Board members have often
been more willing to contribute their name than their
time and effort to the cause of the orchestra and to de-
vote attention to its affairs only upon the occasion of
the bimonthly or semiannual meetings of the board, as-
suming that they even attend these with any regularity.
When this attitude exists, there is the danger that the
board may become a rubber stamp for the decisions of a
single individual or small group, or create a host of prob-
lems by attempting to push through ill-considered plans
or pet ideas. Under such circumstances if the individual
or group in whom the control of the orchestra actually
rests is able and sincere, a high standard of management
may be attained in spite of the drag of inactive board

i 3 8 America's Symphony Orchestras

members. But if lack of interest of the majority of the
board places control in the hands of a person or clique
with a restricted point of view and preconceived ideas,
they can effectively stifle attempts at constructive action.
Their ill-considered actions arising either from igno-
rance or from viewing the orchestra as a means of per-
sonal gratification or prestige rather than as a civic insti-
tution may alienate community good will, or impair
hope and confidence in the future of the orchestra; and
the public, therefore, may fail to provide the finances
necessary to develop the orchestra beyond a limited de-
gree of excellence.

Even where members are reasonably interested, the
failure to fashion the board into a working organization
and to allocate responsibility for specific phases of or-
chestra operation may minimize its efficiency. If no par-
ticular members of the board are intimately versed in
specific aspects of the orchestra's work, policies may
tend to be formulated and decisions made on the basis of
superficial knowledge of the factors involved. In several
instances this potential difficulty has been overcome by
the delegation of specific matters either to small commit-
tees or individual board members. The budget and finance
committees of some boards, noted earlier in the chapter,
have been used to give expert and concentrated attention
to this special problem. The informal specialization and
division of labor carried out by the Boston Symphony's
board of eleven have been most effective. Boards are and
will continue to be the controlling factor in symphony
organizations, and the success of some of the outstanding
symphony orchestras can be attributed very largely to

Management and Operation 139

their good fortune in having a board which is a cohesive
and expert policy-making body.

Since boards no longer raise the funds to maintain the
orchestra entirely from their own group, but are forced
more and more to work through sustaining and auxiliary
organizations, the nature of these organizations deter-
mines very largely the place of the orchestra in the life
of the community. Where sustaining organizations are
small, with membership contingent upon contributions
of considerable size, they have tended to foster the feel-
ing that the orchestra is the concern exclusively of a
small, select group and that symphony concerts exist
only for the intellectually and social elite. Orchestras
with organizations of this sort have been distinctly han-
dicapped when they have been forced to look beyond
their own small circle for funds. In virtually every case,
an attempt has been made to overcome this handicap
through the creation of a special auxiliary organization
with a more democratic membership.

Sustaining organizations, when they have a wide mem-
bership and fund-raising auxiliary organization such as
"Friends of the Orchestra," have not only broadened the
base upon which successful deficit financing depends,
but also have contributed to an increased attendance at
orchestra concerts. Together with the large and active
women's committees, they have aided in stimulating a
healthy interest in the orchestra as a community asset.

Although the need of a broad base of popular support
is apparent, opinion is divided as to whether large voting
sustaining organizations or large nonvoting auxiliary or-
ganizations are the better means of gaining this end. It is

140 America's Symphony Orchestras

impossible to generalize in answering this question, since
so much depends on local conditions and historic devel-
opment. An organization which will work well in one
community may not be suited to another. Furthermore,
the spirit that motivates the organization is more impor-
tant than its form. A small board, sensitive to public
opinion and assisted by well-co-ordinated auxiliary
groups, may achieve a greater degree of public good will
and support than a large, amorphous voting organiza-
tion; but boards and general setups of this kind have
been few and far between. Equally important in deter-
mining the form of organization to be used is a consid-
eration of the fourth factor mentioned at the outset of
the chapter management.

The Larger Function of Management

It is not necessary to analyze further the routine du-
ties of management, which are fairly generally under-
stood. Running a symphony orchestra is a highly com-
plicated and specialized task which places a particular
premium upon native ability, breadth of vision, tact, and
diplomacy. This is especially true in view of the fact that
there are no regular channels for acquiring training and
experience in orchestra management. On the whole, the
work of routine management has been performed satis-
factorily, and where paid staffs have been employed as
in all major orchestras the costs do not appear exor-
bitant. It must be remembered that cost of management
for major orchestras now represents no more than from
7 to 9 per cent of the total budget, that from 1919 to

Management and Operation 141

1928 they rose less rapidly than personnel and other
costs, and that since then they have remained relatively
stationary.

Although concert attendance and operating income in
many cases have increased, there is good reason to be-
lieve that managements have not always realized the full
extent of the potential concert audience and that their
routine publicity and broader public relations programs
have therefore been too limited in their objectives. This,
however, has not been due exclusively to the manage-
ments themselves, but can be traced to an underlying
philosophy which has colored the organization and con-
duct of orchestra affairs. The observation that symphony
orchestras never have and probably never will pay their
own way from ticket receipts but must depend to a
considerable extent on deficit financing, has led to the
mistaken conclusion that the potential audience is ex-
tremely limited and that fund raising is the most impor-
tant activity of orchestra organizations.

It is this point of view which is responsible for the
tendency of some boards to cling to an exclusive and
ultraconservative attitude in all questions of promotion
and contacts with the public. For the same reason, boards
have not always understood that adequate appropriations
for management and long-run promotion are good in-
vestments. In several cases where the management itself
has seen the possibilities of a more aggressive and com-
prehensive program the boards have been unwilling to
assume the responsibility for raising the additional funds
required.

Managements themselves have sometimes been imbued

142 America's Symphony Orchestras

with a defeatist attitude with regard to the limitations of
concert attendance and have therefore passed back to the
deficit-financing activities of the boards the responsibil-
ity of maintaining the orchestra. The view that orchestras
must be dependent upon the bounty of the exclusive
few has characterized the publicity of some orchestras
which, in turn, have presented symphony concerts as so-
cial functions rather than as musical events of interest
and importance to the whole community.

The healthiest and soundest condition for symphony
orchestras is to have the largest possible proportion of
their costs met out of the paid admissions of interested
concert audiences. Though complete financing from
concert attendance is out of the question, the approxi-
mation of this goal requires a greater emphasis than here-
tofore upon a real merchandising policy in the broadest
sense. Such a policy implies the adaptation of concerts to
the needs and desires of the potential audience through
careful observation and analysis, and the development
and execution of a long-range, comprehensive promo-
tional program which will bring these concerts to the
public in as attractive and impelling a manner as possible.

The evolution of a merchandising program is bound
op with the willingness of boards to recognize the full
extent of their responsibilities to a point where a con-
tinuous and consistent policy becomes possible. This in-
volves a decision by the boards of the extent to which
budgets should be balanced by the cost-cutting method,
or whether the continued support of the orchestra can
best be assured by maintaining it at a high standard of
excellence, even though this may require extraordinary

Management and Operation 143

efforts to tide over temporary emergencies. It also will
be necessary to provide managements with sufficient
funds and freedom of action to enable them to expand
their activities beyond mere routine and to map out a pro-
gram designed for cumulative effect. If symphony con-
cert attendance and income are to be brought to higher
levels, and orchestras, consequently, placed on a sounder
economic basis, boards may be required temporarily to
accept deficit financing on a scale which will permit
planning beyond the exigencies of the current season
and make possible a continuous and consistent policy.
Since the development of a comprehensive merchandis-
ing policy involves practically every phase of orchestra
operation, much of the remaining chapters will be con-
cerned directly or indirectly with this problem.

SIX

REGULAR SUBSCRIPTION CONCERTS

DURING the weeks of their regular symphony seasons
in 1937-38 the 16 major orchestras played to a total
paying audience of 2,749,200. While information is
available for but a limited number of the 200 or more
secondary orchestras, it is probable that their combined
audience was between 1,500,000 and 2,000,000. These
audiences were reached through a great variety of con-
certsthe regular subscription series, special, popular,
children's, young people's, and other concerts. The 3
Group I orchestras averaged 134 concerts a season,
Group II, 78 concerts, and Group III, 6r. The schedules
of secondary orchestras are much more modest, averag-
ing 1 1 concerts per season for the more ambitious Group
IV with budgets over $10,000, 7 concerts for Group V
with budgets averaging $4,200, and 4 for the primarily
amateur organizations in Group VI.

The regular series concerts are the principal reason
for die maintenance of symphony orchestras. Among
major symphony orchestras, as shown in Tables VI and
VTI, the regular concerts represent from a third to nearly
half of the total number of concerts and about half of

144

Subscription Concerts 145

TABLE VI. CONCERTS GIVEN DURING THE REGULAR SEA-
SON BY MAJOR ORCHESTRAS: 1937-38

Orchestra || | H c 3 | | K -.

Group I HI || ^ || 81 I" S

Boston Symphony ... 2,307,897 48 45 12 .. 56 4 165
New York

Philharmonic-

Symphony ... ...... 10,901424 84 3 .. 6 ..15 108

Philadelphia Orchestra 2,847,148 56 49 10 6 .. 9 130

Average for

Group I ............... 63 32 7 4 19 9 134

Group II a

Chicago Symphony .. 4,364,755 56 n 12 6 14.. 99

Cincinnati Symphony . 759464 32 n 8 5 .. 5 61

Cleveland Orchestra .. 1,194,989 40 30 .. 19 6 i8 b 113

Detroit Symphony .. 2,104,764 21 5 .. 15 10 .. 51
Philharmonic of

Los Angeles ........ 2,318,526 33 8 3 5 9 .. 58

Minneapolis Symphony 832,258 16 6 3 3165 49

St. Louis Symphony .. 1,293,516 36 30 .. 10 39 88
San Francisco

Symphony .... ..... 1,290,094 24 5 .. 3 10 .. 42

Average for
Group 11 .............. 3 2 Z 3 3 8 9 5 70

Group 111

Indianapolis Symphony 417,685 20 5 .. 6 5 .. 36
Kansas City Philhar-
monic .............. 608,186 20 17 .. 6 31 47

National Symphony

(Washington, D. C) 621,059 20 52 3 6 .. 4 85
Pittsburgh Symphony . 1,953,668 28 .. .. 3 .. i 32

Rochester Civic and
Phflharmonic ....... 398,59* I2 8 .. 15 23 47 105

Average for

Group III .............. 20 16 i 7 6 n 61

a San Francisco data based on Pierre Key's Music Year Book, 1938.

*> Including opera.

c 1938-39 season: only data supplied.

146 America's Symphony Orchestras

the total attendance. Their significance from an income
point of view is even greater, for they provide from half
to two-thirds of the total operating income, and from 27
per cent to 43 per cent of total budgets. 1 Regular con-
certs are almost the only kind given by secondary or-
chestras.

For major orchestras, tour concerts are the second
most important single type of concert. In Groups I and

TABLE VII. PAID ATTENDANCE AT MAJOR ORCHESTRA
CONCERTS: 1937-38

Average Season Attendance per Orchestra

o

fe

*C1

b) <4 fr*

||

1

H

^//

Regular

Group %

h ^ p|

Concerts

Series

Tours

Other

I

2

1,044,100

551,200

172,000 a

102,000

77,200 d

>

*? T f

JJ *,~w

100.0%

46.0%

29.0%

/ / ?* v ^
25-0%

II

8

I,240-,7OO

I?6,2<0

76,100

20.400

CO,7^O

*) T7*/

* J **1~J v

100.0%

48.8%

yir

18.8%

j v i/ j^
324%

m ..........

?

4^C-4OO

91,280

40460

3 1, 700 ^

I9,I2O

j

~JJrt

100.0%

44-3%

.> * j/ ^ v

347%

21.0%

All Orchestras i

[6

2,749,200

171,825

83437

43,750 c

44,638

100.0%

48.5%

254%

26.1%

* This figure includes attendance at short series of symphony con-
certs other than the principal subscription series.

b One orchestra.

c The very extensive touring of one Group ITT orchestra seriously
distorts the average. If the orchestra is eliminated from the group,
the percentages for various classes of concerts are: regular series,
52.3%; tours, 184%; and other, 29.3%.

5 The Boston "pops" are the most important single factor con-
tributing to the size of this figure.

* See Chapter Three, Table IV.

Subscription Concerts 147

II they represent about a quarter of the season's concerts
and their gross receipts are from an eighth to a quarter
of the total season's operating income. Tour concerts
are of about the same importance to orchestras in
Group III, with the exception of one organization which
travels more extensively. Few popular concerts are
given by Group I orchestras, excepting Boston. Orches-
tras in Groups II and III, however, have relied to a
greater extent on popular, as well as children's and young
people's concerts, to reach new audiences and to use
services which they are not able to sell as part of their
regular symphony series or on tour. Taken together
these "other" concerts represent a larger part of the total
schedule for Groups II and III, but a smaller proportion
of their operating income than for Group I. The only
secondary orchestras giving concerts other than their
regular series are Group IV, which average 8 regular and
3 children's concerts a season.

Regular Concert Attendance for Major Orchestras

The average attendance per concert at the regular se-
ries of Group I orchestras in 1937-38 was 2,570, as
shown in Table VIII, and varied little among the group.
In Group II the attendance ranged from about 1,300 to
3,400, but the average was 2,335 not far below Group L
The range of attendance at Group III concerts was from
1,200 to 2,700, with an average of about 2,000. The im-
portance of the size of the metropolitan district and
other marketing factors is suggested by the fact that or-

148 America's Symphony Orchestras

chestras in Groups II and III have smaller average at-
tendance per concert than the Boston, New York, and
Philadelphia orchestras in Group I, in spite of the fact
that they give fewer concerts at lower average prices.
The size of the hall does not seem directly to limit at-
tendance in view of the fact that all orchestras have some
unsold capacity. Since Group I orchestras sell about 92
per cent of their capacity for regular series concerts, it
is obvious that they can add little to their operating in-
come by more complete merchandising of their regular
series, at least in their present auditoriums. Groups II and
III sell a much smaller proportion of their capacity 70
per cent and 64 per cent, respectively and, therefore,
have the possibility of securing important additions to
operating income by developing their regular series
audiences.

TABLE VIIL MAJOR ORCHESTRA REGULAR CONCERT
SERIES: 1937-38

Group
I ....

n ....
in ....

63

3
It

li

2,800
3,320
3,090

*> fe

|

||
2,570

2,335
W7

II
1^

92

70

114

^> ^> S
2? ^ bo

$275,643
105,666
44,269

86
80

la

This is an arltlnnetic overall average, including both subscriptions
and single tickets.

Subscription Concerts 149

Factors Affecting Regular Series Attendance

The average and total attendance at regular series con-
certs are affected by a great variety of factors: the pric-
ing of subscription and single tickets; the design and
facilities of the auditorium; the program policy of the
orchestra, including the compositions played, the num-
ber and type of soloists engaged, the regular and guest
conductors, the day and time when concerts are pre-
sented, the advertising and promotion used, and the qual-
ity of the orchestra.

Orchestras in Group I, on the whole, have the highest
subscription prices, either on a season or a prorated per-
concert basis, as indicated in Table IX The Boston Sym-
phony Orchestra heads the group with a range of from
$35 to $100 for 24 concerts and, on this basis, an average
per-concert cost of $1.46 to $4.17. The New York Phil-
harmonic-Symphony has divided its regular series in
halves and sells subscriptions for 14 concerts at prices
ranging from $i 1.50 to $35, or a prorated single concert
price of 82 cents to $2.50. In spite of their high prices,
these orchestras have the highest average attendance,
partly as a result of being situated in three of the largest
centers of population, partly because of their undeniably
high quality over a long period of time, and partly be-
cause of the cumulative effects of tradition and pro-
motion.

There is considerable variation in the price range of
Group II and HI orchestras. Their lowest prorated price
per concert ranges from 35 to 86 cents and their highest

150 America's Symphony Orchestras

from $1.33 to $4.00. Their shorter series brings season
subscription prices to generally lower levels. Cleveland,
for example, has a relatively high range of $14.25 to
$70.00 for a series of 20 concerts, with a small hall ca-
pacity of about 2,000, while Cincinnati, with a hall seat-
ing 3,460, has a subscription price range of $7 to $45,
also for 20 concerts. Detroit is an exception in that with
a relatively small hall of 2,100 the price range is from $7
to $25 for 14 concerts. On the whole there seems to be
little relation between prices charged and the size of
market, although there is some relationship to size of hall.

There seems to be no established practice in providing
differentials between the price per concert on a subscrip-
tion and on a single concert basis. In general the differ-
ential on high-priced seats seems to run from 25 to 50
per cent, and on the low-priced seats from about 20 to
33 per cent. In some cases, however, there is very little
differential at the bottom of the scale, and in Boston the
subscription price is only slighdy below the single con-
cert price throughout the scale. 2

Comparison of prices charged and the proportions of
hall capacity sold for regular concert series in different
cities indicates that price is not the controlling factor in
present concert attendance. Further evidence of this is

2 The lowest subscription price cited in the text and in Table DC
does not always represent the lowest cost of admission to regular
concerts. For example, the Boston and Philadelphia orchestras have
available a certain number of tickets for unreserved seats, which can
be bought singly at 50 cents per concert, and certain seats at New
York Philharmonic-Symphony Concerts are available to students for
single concerts at less than the prorated subscription price. Some
other orchestras follow similar practices.

Subscription Concerts 151

found in the great variation in the experience of differ-
ent orchestras in selling subscription and single tickets in
different price levels. In some cities the best demand for
seats is found at the highest prices, in others at the low-
est, and in still other cities at the middle range. Occasion-
ally both the highest- and lowest-priced seats sell best,
while the intermediate levels sag. Many of these varia-
tions are undoubtedly correlated with hall design. In
some cases, uncomfortable seats, even though priced ex-
tremely low, simply will not sell. In instances where the
medium-priced seats are best located acoustically, they
outsell both the top and bottom prices.

In view of the many factors affecting prices, it is dif-
ficult to generalize on pricing policy without a much
more intensive study of the pricing experience of indi-
vidual orchestras, in relation to local conditions over a
period of years, than has been possible in this survey.
There seems to be some agreement among managers,
however, on a few points. For example, relatively few
price reductions seem to have been made for regular se-
ries concerts during the depression, and a number of or-
chestras have maintained an unvaried price schedule over
a period of a decade or more. It is the general opinion of
managers that, once a price schedule is established, it is
inadvisable to change it without compelling reasons. In-
creases are particularly inadvisable unless a very good
case can be made for them by virtue of a greater number
of concerts or undeniable improvements in the quality
and attractiveness of the concerts. In order to avoid
alienating subscribers and patrons, price increases, if they
are made, must be accompanied by a very carefully

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Subscription Concerts 153

planned public relations program and publicity cam-
paign. This observation applies not only to changes in
the general price range, but also to shifts in the pricing
of different sections of the house. Changes should be
made only if careful study has revealed them to possess
definite advantages. When orchestras are newly estab-
lished, or move into a new auditorium, the pricing dia-
gram should, therefore, be planned with extreme care.
Habit is a very important factor in the sale of subscrip-
tions, and subscribers are likely to resent changes in the
price of "their" seats.

Furthermore, it is generally considered advisable to
maintain a stable price scale for single admissions for all
regular series concerts, regardless of the box-office at-
traction of particular soloists. This practice emphasizes
the orchestra for its own value rather than as a platform
for the presentation of artists. Moreover, the public is
likely to resent a higher-than-customary charge for a
concert presenting an especially popular performer.

The idea of splitting the season into halves, in the
hope of increasing the number of subscribers and total
revenue, has frequently been discussed. Experience has
shown that this procedure is likely to be unsuccessful ex-
cept under unusual circumstances where an overdemand
for subscriptions has been demonstrated. Otherwise,
splitting the season may not result in increasing the num-
ber of subscriptions sufficiently to offset the halving of
the subscription price.

Very few experiments have been tried in reducing
prices for regular concert series. In fact, summer con-
certs represent the only large-scale attempt to attract big

154 America's Symphony Orchestras

audiences at low prices. Many orchestras find themselves
in the position where their present auditoriums, even if
sold out, would not yield sufficient income to meet ex-
penses. Where large unsold capacities remain, as is the
case in most cities, managers have been reluctant to
lower prices because they fear that their total ticket re-
ceipts at lower prices will be less than at the present
scale.

Hall Capacity and Design

At the present time the halls in which regular series
concerts are given range in capacity from 1,937 in In-
dianapolis to 4,841 in Minneapolis. They average 2,800
for Group I orchestras and slightly over 3,000 for
Groups II and III. The lack of a definite relationship be-
tween the size of auditoriums and size of city is indi-
cated by these averages as well as by marked variations
among orchestras in the different groups. Severance Hall
in Cleveland, with a capacity of 2,000, for example, at-
tempts to serve a metropolitan district of 1,194,000,
while in Minneapolis, with a metropolitan district of
832,000, regular series concerts are given in the North-
nip Memorial Auditorium seating 4,841.

It is difficult to prescribe an ideal size of auditorium
in view of the individual requirements of different cities.
While the managers in the largest centers are fairly
agreed that it would be an advantage to have auditoriums
larger than those being used at the present time, there
also is a general agreement that 3,500 to 4,000 represents
the top limit for a satisfactory hall. In the present state

Subscription Concerts 155

of architectural and engineering science it is difficult to
build a hall larger than this with the necessary sound
properties. Managers also hesitate to go beyond this limit
in view of the uncertainty of attracting reasonably full
houses and of the highly undesirable psychological effect
of partly filled auditoriums.

The principal difficulty among Group II and III or-
chestras at the present time is the fact that, although their
average auditorium size 3,026 and 3,090 is about right,
the actual auditoriums in many cases are either too large
or too small. Indeed, a few of these halls are of such re-
stricted capacity that, even if sold out at fairly high
prices, they would provide a relatively small proportion
of the necessary total income. Furthermore, there is a
tendency with small halls to keep the prices as high as
possible, thus creating an atmosphere of exclusiveness. A
few managers are of the opinion that it is better to have a
small hall and to give more concerts a week than to have
a large hall and run the risk of failing to fill it. More con-
certs, however, mean increased costs, unless the orchestra
has been unable to utilize profitably all of the services
available under its union agreement.

Many halls were not designed with a view to present-
ing symphony concerts and even some of those which
were constructed primarily for musical events have been
found inadequate as to size or facilities. A number suffer
from inconvenient locations, while some of the more
centrally located ones are handicapped by poor parking
facilities. Few have adequate foyer or lounge space.
Some of the halls are unsatisfactory acoustically, while a
few with good acoustics have other disadvantages. In

156 America's Symphony Orchestras

some instances particular blocks of seats may be espe-
cially uncomfortable, while in others seating difficulties
may be created by pillars and similar obstructions. A
few halls have inadequate stage space for the orchestra
itself, while practically none of them possesses suffi-
ciently flexible facilities to take care of ballet, opera, and
other similar services in a satisfactory manner.

The auditorium bears a most important relationship to
the merchandising of symphony concerts. Location is a
factor of paramount importance not only convenience
of location but its relative social desirability. A too ex-
clusive location quite easily may contribute to the gen-
eral impression that symphony concerts are "high-brow"
and "high-hat" occasions and that the orchestra is the
concern only of the favored few. Adequate parking
space, entrances, and exits are essential and are becoming
more so in view of increasing traffic congestion. There is
increasing realization that auditoriums must not only be
acoustically satisfactory, but comfortable as well. Com-
fortable seats in all price classes and adequate space be-
tween rows are indispensable if the orchestra is to at-
tract people away from their radios and easy chairs and
from motion picture houses where comfort has been
given the most careful consideration. While tradition
and public opinion vary in regard to providing bar facili-
ties in the lounges, a number of orchestras have found
this a successful means of creating a friendly, informal
atmosphere and of making concerts a pleasant social, as
well as artistic, event. Facilities of this kind seem to be
appreciated especially by the younger married set who
are attending symphony concerts in increasing numbers.

Subscription Concerts 157

The stage should be built for opera, ballet, large choral
productions, and possibly unusual dramatic presenta-
tions. The average city has but one opportunity in many
years to have a fine concert hall or civic auditorium, so
that diversified usage should be provided for.

Hall design and capacity, however, are relatively static
factors in the symphony situation, and in several cases
where the present hall is decidedly unsatisfactory there
is little hope of a new auditorium in the near future.
Consequently, where cities or orchestras are planning
new halls, it is vital that they design their auditorium not
only in terms of acoustic properties, but also with equal
consideration for the value of various facilities from a
merchandising point of view and for the economics of
pricing. Experience in a few instances has shown that a
symphony orchestra's move into an adequate, commodi-
ous, and attractive hall has given new impetus to public
interest and has resulted in larger audiences.

Days of the Week

During the 1937-38 season, Friday afternoon and
Thursday and Saturday evenings were the most fre-
quently selected times for regular series concerts. Eleven
of the 1 6 major orchestras had Friday afternoon series,
7 had Thursday evening, the same number Saturday eve-
ning concerts. Other times when regular series concerts
were given included Wednesday night, Friday night,
Saturday afternoon, and Sunday afternoon. There has
been little or no change in the days on which regular
series concerts have been given in recent years. Since

158 America's Symphony Orchestras

1919-20 2 major orchestras Los Angeles and Chicago
have shifted their regular series from Saturday night to
Thursday night and for several seasons have been giving
popular concerts on Saturday night. Several years ago
the Cleveland Orchestra changed its Saturday afternoon
series to Saturday night.

The principal problem in regard to a choice of the day
of the week for regular series concerts has been that cre-
ated by the shift of population to the suburbs combined
with the five-day work week. Managers report increas-
ing difficulty in filling their houses on Saturday nights,
and several of them are contemplating changing to other
days of the week. However, they are reluctant to do so
in view of the role of habit in determining concert at-
tendance. In at least one instance in the past a change
from Saturday night for several seasons resulted in fur-
ther reductions in audience. Managers and board mem-
bers are of the opinion that shifts in regular series con-
cert periods must be preceded by a most careful public
relations campaign.

Programming

The success of a season of symphony concerts is as de-
pendent upon programming as it is upon the quality of
the orchestra. Every appearance of the orchestra is a
public relations event of the first magnitude. All the sup-
plementary publicity in the world will accomplish noth-
ing if the performances themselves are a disappointment.

The conductor usually is, and should be, the arbiter of
all questions of programming. Ordinarily he is interested

Subscription Concerts 159

principally in preserving the highest possible musical
standards. Some conductors are particularly conscious of
their dual function: to please, as well as to help develop
more informed and higher levels of musical taste. Most
of them recognize the need of playing new composi-
tions, without which there would be no progress. Yet
they encounter the difficulty of selecting new works
worthy of a permanent place in the repertoire and the
inevitable disapproval that will greet some selections.
Many of them persevere in their attempts to give con-
temporary music an appropriate place, since they recall
the early violent opposition to Wagner and Brahms,
whose compositions now vie with popular concert artists
as box-office attractions. Whereas, at the turn of the cen-
tury, music critics used, facetiously, to recommend the
use of fire escapes "in case of Brahms," today whole
programs and even cycles of his works are certain box-
office attractions, as are those of Wagner. However, in
some cases the introduction of new works has been car-
ried to the extreme and has been done with an eye to
competition with other conductors in gaining reputa-
tions for "first performances."

Some conductors undoubtedly have a flair for putting
together well-balanced, interesting, and high quality pro-
grams and are sensitive to the reaction of their audiences
in the same way that a merchandiser in one or another
branch of trade watches the behavior of his customers.
It is difficult to please all tastes and more difficult now
than ever before because the wide dispersion of a little
musical knowledge has given rise to a greater number of
diverse and intense factions. Unfortunately there are to-

160 America's Symphony Orchestras

day too many musical snobs who set up their own ideas
as to the proper standard and will not listen with an
open mind, nor accept programs which a conductor
must choose to appeal to his audience as a whole. More-
over, a very small percentage of any audience is com-
posed of those possessed of technical knowledge and able
to appreciate musical work because of its ingenious con-
struction or the cleverness of its orchestration. The re-
sponse of most audiences is largely emotional and they
go to concerts for refreshment and inspiration, and,
while they do not object to occasional new works, they
undoubtedly feel more at home with "old friends" and
prefer programs selected largely from the standard or-
chestral repertoire.

Conductors of major symphony orchestras are faced
with the problem of building twenty to forty different
programs a season. It is sometimes contended that the
symphonic repertoire is wearing thin and that the diffi-
culty of constructing an interesting and varied series of
programs is therefore being increased. Those holding
this point of view maintain that audiences will accept
nothing except the few greatest, time-tested masterpieces
and that there are not enough good new works coming
to the foreground to revitalize the repertoire. A contrary
contention cannot be overlooked to the effect that there
is a wealth of good symphony literature which the vogue
of imitation has neglected and which could profitably be
used to enliven and vary programs. Therefore, it is an
extremely difficult task for a conductor to steer a course
which recognizes both the appeal of the familiar and the
stimulation of the new. Of course, programming in-

Subscription Concerts 161

volves not only the selection of the individual composi-
tions, but the achievement of balance as well.

One factor which is sometimes considered unimpor-
tant, but which undoubtedly affects the spirit with
which the audience leaves an auditorium, is the timing of
the program. There is a definite point past which addi-
tional symphonic music yields diminishing satisfaction.
The fact that many of the audience live in the suburbs
also is a practical consideration in limiting the length of
the program. Several conductors who are recognized as
masters of program making seldom devise concerts in
which the actual playing time exceeds 80 to 85 minutes,
and take particular pains to provide an adequate inter-
mission period.

Inseparably bound up with considerations of program-
ming and the quality of the orchestra is the question of
the conductor and, particularly, of the "star" conductor,
which was discussed to some extent in Chapter Four.
Recognition was given to the contribution of conductors
to the success of orchestras by virtue of their ability and
their box-office appeal. The power of personality is al-
ways great in the field of art and entertainment, and
particularly in an orchestra where the conductor per-
sonifies the whole organization. From the point of view
of appealing to the imagination of the public and of at-
tracting large audiences the star conductor has undeni-
able advantages. In some cases, however, where the ac-
tivities of the conductor himself, the willingness of the
press and the public to seize upon a picturesque person-
ality, or the fact that the management has taken the easi-
est way in its publicity and built up the conductor to

1 62 America's Symphony Orchestras

the exclusion of the orchestra, the "star" conductor may
eclipse both the organization and the music it performs.
Under these circumstances public interest and attend-
ance may fall away disproportionately when the orches-
tra appears under the baton of an assistant or guest con-
ductor. Even greater difficulties may arise when circum-
stances necessitate a change of conductor. There seems
to be a growing realization among managers and boards
that an organization cannot be borne along on the repu-
tation of the conductor, but, if stable audiences and de-
pendable financial support are to be ensured, equal care
must be given to building up the real quality of the or-
chestra and to keeping the proper balance in the public
mind between the value of the music, the orchestra as a
performing instrument, and the conductor.

Guest Artists

The extent to which guest artists should be used on
regular series concerts has received a great deal of dis-
cussion. In view of their expense the management and
board of directors in many cases would like to reduce
their use to a minimum. Furthermore, the too frequent
use of guest artists tends to throw the orchestra into
the background and to build up an audience depending
largely upon the glamour of the soloist. All orchestras
have found it necessary to present soloists and groups to
some extent in order to add to the attractiveness and va-
riety of their programs. This practice, however, varies
from a limitation of guest artists to occasions when they
perform concertos and similar symphonic works with a

Subscription Concerts 163

rightful place in the orchestral repertoire, to their ex-
ploitation as a principal means of attracting audiences.
Group III orchestras, newly established and therefore re-
quiring the use of every means to stimulate public in-
terest, make more extensive use of soloists and assisting
ensembles in their regular concerts than do the orchestras
of the other two groups in 67 per cent of their conceits
as compared to 61 per cent for Group I, and 48 per cent
for Group II, in 1937-38.

On the whole it is conceded that more single admis-
sions are usually sold for concerts with soloists than for
those of the orchestra alone. The management is always
faced with the choice between "box-office" artists and
performers who are sometimes equally competent but
with less public appeal, and in making up the season
schedule they attempt to combine these two types in
the proportions which will yield the greatest net return.
For the current season, for example, the management of
one major orchestra has decided to use fewer and better
known and more expensive artists, while another has de-
cided to feature a larger number of less widely known
performers. In terms of extra single admissions the high-
priced artists often may not add enough income to pay
their expenses; but their value in selling subscription
tickets is undoubted, even though it cannot be measured.

Advertising and Promotion

The best-planned and most attractive regular series
will fail to realize its income-producing potentialities
without adequate promotion. The most effective means

164 America's Symphony Orchestras

of promotion is a large, carefully selected, and up-to-
date mailing list, of which constant use is made. The effi-
cient use of such a list is possible only if the season itself
has been planned in detail early enough to permit the
preparation and mailing of literature well in advance of
the season. In addition, some managers have made suc-
cessful use of small folders giving complete summaries
of the main prospectus; these are distributed in depart-
ment stores and other retail establishments. The detailed
prospectus not only should be as attractive as possible,
but should also contain all essential information regard-
ing dates, soloists, and prices. At the present time it is
probable that too little attention is being given to the
physical make-up and copy of prospectuses and that
more expert application of the accepted principles in
these fields would materially enhance the selling value
of the literature of many orchestras.

The management of one orchestra, located in a metro-
politan district of less than a million population but hav-
ing the largest average attendance for its regular series
concerts, utilizes a mailing list of 15,000 names to which
prospectuses are issued six weeks before the first concert.
This procedure is supplemented by the distribution of
about 100,000 summary folders through retail stores. It
was found that the public wants programs in advance
and the practice has therefore been established of an-
nouncing programs in the press a week prior to their
performance. Programs and folders are also available in
two or three downtown box offices maintained by the
management, as well as at libraries and at other public
places.

Subscription Concerts 165

Too little attention has been given to continuous and
constructive publicity. There seems to have been a tend-
ency to rely upon routine releases; and the news possi-
bilities of the music, the orchestra, and its personalities
have not been sufficiently exploited. Part of this diffi-
culty undoubtedly has been due to the frequent practice
of maintaining part-time publicity men who are not suf-
ficiently identified with the interests of the orchestra and
who are not on the job continuously to take advantage
of news opportunities when they occur. The attitude of
many music critics and editors has been to treat concerts
too much from the technical point of view rather than
to review and report them as events of general interest,
while routine reporting, on the other hand, often has
tended to emphasize the social aspects. Both of these
practices have restricted the public appeal of concerts.

One theme that deserves constant repetition in sym-
phony orchestra publicity and public relations is that the
enjoyment of symphonic music is not dependent upon
technical knowledge. Undoubtedly there is a large pub-
lic which would enjoy symphony concerts if they were
not kept away from the conceit hall by their fear that
they are not "educated up 7 ' to them.

In addition to literature and newspaper publicity, man- '
agements are finding that personal promotion by compe-
tent and well-informed representatives of the orchestra
who address all kinds of clubs, business, civic, and social
groups is a particularly effective device for stimulating
attendance at regular series. More attention might well
be given to this type of promotion, especially to the
techniques of presentation and the training of speakers.

1 66 America's Symphony Orchestras

Regular Series Concerts of Secondary Orchestras

Secondary orchestras restrict their conceits almost en-
tirely to the so-called regular series, of which, however,
they give only a few. The average attendance per con-
cert in 1937-38 for the more important secondary or-
chestras, comprising Group IV, was approximately 2,000
and corresponded roughly to that of Group III major
orchestras. For Groups V and VI average attendance
was 1,264 an d 747- The halls are usually smaller than
those of the major orchestras and often are high-school
auditoriums. In Group IV, however, the auditoriums
available in many cases are comparable to those of major
orchestras. In view of the fact that they give so few con-
ceits, secondary orchestras are able to fill their halls as
well, or, in some cases, better than most Group III major
orchestras 78 per cent of hall capacity being sold by
Group IV secondary orchestras, 70 per cent by Group
V, and 6 1 per cent by Group VI. About 80 per cent of
regular series receipts of both Group IV and V orches-
tras are derived from subscriptions. Group VI, which
averages between 3 and 4 concerts a season, secures
slightly less than half of its ticket income from series
sales.

For Group IV and V secondary orchestras, single ad-
mission prices range from 25 cents to $1.50, and their
subscription prices depending on the number of con-
certsfrom $3 to $10. There is very little differential be-
tween the season and the single admission price, except
for some of the best orchestras in Group IV. In Group

Subscription Concerts 167

VI season prices usually run from $1.50 to $3, and single
admissions from 25 cents to $i.

The program problems of secondary orchestras are
different but no less difficult than those of major orches-
tras. Here the conductor has the task of selecting a pro-
gram that will not be beyond the technical facility of his
orchestra, and which will still be interesting to an audi-
ence which, to a large extent, has been listening to the
best symphonies over the radio. The result is that the
programs of secondary orchestras are comprised princi-
pally of the better known and less elaborately instru-
mented symphonies and some of the more tuneful and
popular tone poems and suites, although some of the
larger professional orchestras in Group IV present pro-
grams generally similar to those of Group III major
orchestras.

Secondary orchestras, like the major orchestras, have
found the use of soloists an indispensable part of their
programs and tend to be even more dependent upon
them. Orchestras in Group IV, during the 1937-38 sea-
son, presented guest artists in 71 per cent of the regular
concert programs, and included among these some of
the best known and most popular soloists. Group V or-
chestras used fewer artists in 54 per cent of their con-
certsand relied to a greater extent upon younger and
less well-known performers and upon local talent. The
almost entirely amateur orchestras in Group VI pre-
sented soloists in 90 per cent of their programs and de-
pended almost exclusively on local talent.

The tendency of guest artists to overshadow the or-
chestra is an even more acute problem than in the case

1 68 America's Symphony Orchestras

of the major orchestras. The appeal of the orchestra is
limited by its quality, the range of its repertoire, and the
tendency of the public to place too great importance
upon the level of skill attained by the great virtuoso or-
chestras rather than upon hearing good music for itself.
There is an element of added danger in the practice of
some secondary orchestras in allowing soloists to present
a group of numbers unaccompanied by the orchestra.
Not only does this further emphasize the relative impor-
tance of the soloist, but, if encores are allowed, it may
disrupt the entire program structure and tuning.

The promotional problems of secondary orchestras
differ from those of major organizations in several re-
spects. They rely principally upon personal solicitation,
by teams of workers, in promoting the sale of season
tickets. While they are handicapped in having to use
amateur talent in all their promotion work, they are able
to capitalize especially strongly upon the importance of
the symphony orchestra as a local institution. The tech-
niques required in ticket selling do not differ from those
of other orchestras, for the ability to emphasize the com-
munity aspects of the orchestra affects the appeals which
may be used rather than the methods to be employed in
publicity.

SEVEN

CONCERTS FOR VARIED AUDIENCES

MAJOR symphony orchestras have always faced the prob-
lem of maintaining a sufficiently long season to provide
their men an annual income adequate to attract compe-
tent musicians and to keep the personnel intact from
year to year. The union agreement, whereby players are
engaged for a specified number of weeks, crystallizes the
management's responsibility for maintaining a season of
satisfactory length and imposes upon it the task of sell-
ing enough concerts to utilize the services for which it
has contracted.

Since there is a limit to the number of regular sym-
phony concerts which a community will absorb at the
present time, it has been necessary to dispose of the re-
maining services through diversified types of concerts-
tours, popular concerts, children's and youth concerts,
short special series, and summer concerts. Some of these
have been developed principally for the contribution
they might make to the orchestra's net operating income,
while others, such as children's concerts, have been un-
dertaken primarily as public services which would firmly
establish the orchestra in the community and help to en-
sure favorable response to maintenance fund campaigns

169

170 Americas Symphony Orchestras

and other requests for financial support. However, the
motives which have impelled individual orchestras to
establish various kinds of concerts have not always been
the same, and the line of demarcation between the desire
directly to augment operating income and to render an
important public service has by no means been clear cut.
The entire problem of diversification of service has
been confined principally to major orchestras, since sec-
ondary orchestras are usually financed on a concert-and-
rehearsal basis and thus have neither the artistic resources
nor the urge to attempt a large measure of diversification.

Concert Tours

Touring was the earliest method by which manage-
ments sought to increase the length of seasons in order to
bring the annual income of their players to satisfactory
levels. At the end of the nineteenth and well into the
twentieth century most of the permanent orchestras then
established took advantage of the groundwork that had
been laid by the traveling orchestras * and undertook ex-
tensive tours either during or at the close of their regular
seasons. The 10 major symphonies exsiting in 191 3-14 2

1 See Chapter One.

2 The major orchestras existing in that year were the Boston Sym-
phony Orchestra, Chicago Symphony Orchestra, Cincinnati Sym-
phony Orchestra, Los Angeles Symphony Orchestra, Minneapolis
Symphony Orchestra, New York Symphony Orchestra, Philadelphia
Orchestra, Philharmonic Society of New York (with which the
New York Symphony was merged in 1928), St. Louis Symphony
Orchestra, and the San Francisco Symphony Orchestra. See "Amer-
ican Symphony Orchestras," by Henry B. Baerman, Musical Courier,
February io 1915.

Concerts for Varied Audiences 171

gave more than 400 concerts on the road. The 2 most
extensive tour schedules were those of the Minneapolis
Symphony Orchestra, which presented 146 out-of-town
concerts with 9 additional weeks of touring, and the
Chicago Symphony Orchestra, with 22 tour concerts
during the season and 13 extra weeks. By 1928-29 the
total number of tour concerts given by major orchestras
was about 300, a decline of 25 per cent, in spite of the
fact that major orchestras now numbered n. Although
the number of major orchestras had grown to 16 by
1938-39, their total tour concerts still remained at ap-
proximately 300.

While, on the whole, the 3 orchestras in Group I gave
about the same number of out-of-town concerts in
1938-39 as in 1928-29, 2 of them had changed their tour-
ing policy materially. The New York Philharmonic-
Symphony Orchestra reduced its tour concerts from 28
to 4, while the Philadelphia Orchestra increased its out-
of-town engagements from 22 to 56. The Boston Sym-
phony tour schedule remained about the same, with 43
concerts. Tour concerts represent about a fourth of Bos-
ton's entire schedule and a little over two-fifths of the
Philadelphia Orchestra season. The touring done by the
8 Group II orchestras declined during the last decade
from an average of 33 concerts to 16. Important changes
occurred in the touring activities of individual orches-
tras. For example, the Minneapolis Symphony Orchestra
decreased its tour engagements from 83, or 70 per cent
of its total number of concerts, to 8, or about 20 per
cent; Los Angeles had an extensive tour of 43 concerts
in 1928-29, and only 9, ten years later; Chicago dropped

172 America's Symphony Orchestras

from 20 tour concerts to n, and Cleveland from 43 to
32. Slight gains have been made within the last few years
in the number of tour concerts given by the Cleveland
and Cincinnati orchestras. The only 2 orchestras in
Group II with important tour schedules at the present
time, however, are Cleveland, with 32, and St. Louis,
with 28 out-of-town concerts. Three out of the 5 rela-
tively new Group III orchestras are building up tour
business: the National Symphony Orchestra of Wash-
ington, D. G, with 40 concerts in 1938-39; Kansas City
Philharmonic with 26; and the Rochester Philharmonic
with 15. While it was still the leader among the group,
the National Symphony's out-of-town concerts had de-
clined from 52 in 1937-38. The Indianapolis Symphony
Orchestra gave 9 tour concerts. The recently reorganized
Pittsburgh Orchestra has adopted the policy of doing no
touring until the orchestra has had the opportunity to
acquire a degree of artistic maturity.

In summarizing the importance of touring at the pres-
ent time, it may be said that only 6 of the entire group
of major orchestras have extensive tours. In 1938-39,
Boston, Philadelphia, Cleveland, St. Louis, Washington,
and Kansas City accounted for 80 per cent of the out-
of-town concerts given by major orchestras, and for
about the same proportion of net receipts from that
source. The position of the Philadelphia and Boston or-
chestras in this field may be said to be unique in that
their established reputations and clientele bring their net
receipts from tour concerts to about twice the amount
for all other major orchestras combined. The relative
profitability of tour concerts is indicated by the fact that

Concerts for Varied Audiences 173

the net receipts for each engagement averages about
$2,500 for Group I orchestras, $850 for those in Group
II, and $450 for Group III. 3 The contribution to operat-
ing income by tour receipts varies widely and ranges
from about 2 per cent to 33 per cent of operating in-
come for orchestras which give a relatively large number
of out-of-town concerts. It should be pointed out, how-
ever, that in some cases tour concerts may represent a
large proportion of the season's engagements, but that
net receipts from this source may add only a small per-
centage to total operating income.

Touring is an entirely different matter today from
what it was twenty to thirty years ago. Even as late as
1919-20 the itineraries of some of the orchestras touring
the Middle and Far West included many communities of
5,000 to 15,000 population. Among the many towns vis-
ited by the Minneapolis Symphony Orchestra during
that year were Qarinda, la. (4,5 n), 4 Kirksville, Mo.
(7,213), St. Cloud, Minn. (15,873), Miles City, Mont.
(7,937), and Moscow, Idaho (3,956). At the present
time major orchestras visit very few towns of this type
and the great majority of their out-of-town concerts are
given in cities of 50,000 population and over* The smaller
communities which are visited occasionally are chiefly
college and university towns where either part or the en-

3 Net receipts for tour concerts, as used here, represent the bal-
ance remaining after deducting from gross receipts me cost of trans-
portation, the per diem allowance to players, in some cases hall
rental, and other expenses directly chargeable to the tour. Personnel
salaries are not considered as a direct tour cost but as part of the
overhead of the regular season, since the services used on tour are
covered in the union agreement.

4 1920 population.

174 America's Symphony Orchestras

tire fee for the concert may be guaranteed by the college
authorities. 5

A variety of factors have contributed toward restrict-
ing profitable tour engagements to the larger towns and
cities. Most of the small town choral societies are a thing
of the past and where they still exist, as in some of the
small college towns, the accompaniments for their con-
certs are usually supplied by orchestras composed of col-
lege students. The large number of concerts on tour in
1913-14 and thereabouts was due to numerous music fes-
tivals given by choral societies in those earlier days.
Nearly all the orchestras and particularly Minneapolis
and Chicago at the close of their regular seasons re-
duced their personnel to 50 or 60 players, engaged a
quartet of vocal soloists, and embarked on a long spring
tour of music festivals. Such orchestras were not engaged
primarily to give real symphony concerts, but rather to
provide the accompaniments for oratorios and sometimes
opera in concert form. Out-of-town audiences can no
longer be interested in symphony concerts unless they
are given by a full orchestra and include a repertoire
comparable to that included in its regular series and to

5 While the usual practice today is for the orchestra to be guar-
anteed a specified sum for out-of-town engagements, either by a
local management or occasionally an organization such as Com-
munity Concerts or Civic Concerts, a different marketing situation
is presented in the case of many college sponsored concerts. The
college authorities are usually not primarily interested in the pro-
ceeds derived from ticket sales and view the concerts as an edu-
cational service rather than a source of income. Frequently the cost
of student admissions is met out of a general activities fee and all
students are free to attend the concert. Since the college need not
make a profit, these arrangements make it possible for orchestras to
have engagements which a local manager could not afford to handle.

Concerts for Varied Audiences 175

what can be heard over the radio. Conditions are thus
quite diif erent from several decades ago when it was pos-
sible to take only a part of the orchestra on tour and
when many of the concerts given consisted of lighter
works which could be played with little rehearsal. The
general increase in players' salaries and the change in
standards demanded by the public have contributed to
rising costs of tour performances, which can no longer
be met by the smaller communities.

Profitable touring is made even more difficult for the
majority of orchestras in that there are more organiza-
tions among which to share the business. The increasing
competition is illustrated by the fact that whereas in
1913-14 the 6 leading touring orchestras accounted for
nearly 95 per cent of out-of-town concerts, the 6 leaders
in touring today give but 80 per cent. Undoubtedly ad-
ditional competition has been afforded by the secondary
orchestras which have sprung up in many communities.
Even though few of these secondary orchestras compete
artistically with the available major orchestras, many
communities prefer to support the local organization as
a community institution and service.

Few, if any, tour concerts would be profitable if their
total expense, including prorated personnel cost, were
charged against them. Since the management must pay
the salaries, whether or not concerts are sold on tour,
these concerts are considered profitable in so far as they
yield any return over and above transportation and other
direct touring costs, which can be applied to reducing
the deficit. An orchestra management, therefore, can ad-
just prices in any manner necessary, or can travel as far

176 America's Symphony Orchestras

afield as it can book engagements, so long as a net return
remains at the end of the tour. This increases price com-
petition and also the difficulty of booking an advanta-
geous itinerary of adjacent towns which can be covered
at a minimum expense. The suggestion has sometimes
been made that symphony orchestras should limit their
touring activities to "logical areas of service," and should
avoid encroaching on each other's territories as far as
possible. If this principle could be applied it would un-
doubtedly result in more efficient service and more prof-
itable business. It would be difficult, however, to apply
this suggestion. Many orchestras are so situated that they
must naturally compete over considerable areas. More-
over, symphony orchestras vary as to size, quality, and
reputation, and therefore as to the prices they can com-
mand. For these reasons different orchestras will com-
pete at different price levels within a wide area. In spite
of the fact that widespread competition is certain to con-
tinue, managements might find it advantageous to follow
a practice which has proven highly successful in many
businesses to explore more thoroughly the market pos-
sibilities of near-by communities. Not only can these cit-
ies be served more economically, but the opportunity is
afforded for the orchestra to build up a regional service
which, in course of time, should prove an important and
stable source of operating income and provide the basis
for broader appeals for financial support. 6

6 An example of this principle is found in the experience of one
of the smaller track manufacturing companies which increased its
btisiness 25 per cent during the depression by reducing its sales ter-
ritory from 48 to 6 near-by states and by adapting its product to
tbe special needs of the smaller market.

Concerts for Varied Audiences 177

Especially in the case of young orchestras, touring
may be of indirect benefit, financially, far beyond the
receipts derived from out-of-town conceits. Favorable
reception in important cities, and especially in New
York, adds to the reputation of the orchestra at home
and causes it to become an object of community pride,
as a result of which audiences increase and the task of
raising maintenance funds is made easier.

Popular Concerts

Popular concerts also were introduced for the purpose
of offering the members of the orchestra longer and,
therefore, more advantageous engagements. Popular con-
certs sought to reach new audiences by means of lighter
music and the serving of refreshments, and followed a
practice successfully instituted by Theodore Thomas in
his Terrace Garden concerts in New York as early as
1866. While the principal purpose of these concerts has
usually been to add to operating income, it was also
hoped that they would be a means of increasing the au-
diences for the regular season.

In 1938-39, 10 of the 16 major orchestras gave popular
concerts of one form or another. The Boston Symphony
is the only Group I orchestra to present popular con-
certs; in Group II, Chicago, Cleveland, Detroit, Los An-
geles, Minneapolis, and St. Louis have popular series; in
Group in, Indianapolis, Kansas City, and Rochester. In
addition, the 10 municipal concerts sponsored by the Art
Commission of San Francisco resemble popular concerts
in some respects.

178 America's Symphony Orchestras

In general popular concerts differ from those of the
regular season in that they have a somewhat lighter pro-
gram, feature fewer and less well-known soloists, and
are presented under more informal conditions at lower
prices. Though most popular concerts follow this gen-
eral pattern, those in Boston add the highly successful
feature of setting up tables and serving refreshments
during the concerts. Prices for concerts of this type
usually range from 25 to 75 cents, but in a few cases
some seats may be sold for as high as $i. Most popular
concerts are given on Saturday night, Sunday afternoon,
and Sunday night, and the series vary from 3 a season,
in Kansas City, to 56 in Boston. While in most cities the
"pops" are interspersed with the regular concerts, those
in Boston are concentrated in a special ten-week series
at the end of the symphony season.

Since the use of popular concerts varies so greatly
among individual orchestras, it is impossible to generalize
for any group, as a whole, as to the proportion of op-
erating income derived from this source. However, the
percentage of operating income secured from "pops"
ranges from 3 per cent to 7 per cent for most orchestras,
but may reach 15 per cent or 16 per cent for the few
orchestras that give a large number of these concerts.

Chicago provides an interesting example of the con-
ventional type of popular concert. These concerts have
been an important part of the orchestra's activities for
twenty-six years and are so well established that no spe-
cial publicity is used to promote them beyond a simple
line on the regular concert announcements. The con-
certs are popular in both type and price. They do not

Concerts for Varied Audiences 179

present expensive artists but frequently use members of
the orchestra or relatively unknown local talent as solo-
ists. Encores are allowed and the conductor frequently
addresses informal remarks to the audience. An interest-
ing feature of the Chicago popular series is that the sale
of tickets is promoted by making it possible for institu-
tions such as schools, banks, settlements, industrial and
commercial organizations to distribute tickets at reduced
rates. The only requirement is that they sell thirty or
more tickets. At the present time about 50 institutions
are co-operating in this plan. If an organization does not
sell the specified number of tickets, it is not required to
make up the difference in price, but, after repeated fail-
ures, is taken off the list.

Public interest in popular concerts has tended to de-
cline in a number of cities and the audiences have de-
manded more and more the same general type of pro-
gram as is presented in a regular symphony series. In-
deed, in many cases the distinction between the "pop"
and regular programs has faded to such an extent that
the former have remained popular in price only and have
come to compete increasingly with the regular series.
Managers in a few cities have either discontinued popu-
lar conceits during the regular season, or are seriously
contemplating doing so.

The Boston "Pop" concerts were established in 1885
and for many years about 5 out of every 6 of these con-
certs have been sold out. A number of factors have con-
tributed to the unique and lasting success of these con-
certs. In the first place, they were begun at a time when
few other forms of public recreation were available and

180 America's Symphony Orchestras

a tradition was firmly established before the advent of
motion pictures and other competing leisure-time activi-
ties. Furthermore, they are given during a ten-week pe-
riod beginning the first Wednesday in May and after the
close of the regular symphony season. Symphony Hall
possesses unusual facilities for the creation of a pleasant
and informal atmosphere. The slanting floor upon which
the seats for regular concerts are placed can be removed
with comparatively little effort, leaving a flat surface
upon which tables can be set up for serving refresh-
ments. The entire interior is redecorated in a style appro-
priate for a summer garden. The service features food
which requires no knives and forks and a well-selected
and reasonably priced wine list. The hall has a further
advantage in that the kitchen facilities are sufficiently far
away from the stage so that the noise cannot interfere
with the concert.

The highest order of showmanship is demonstrated in
both the programming and promotion of the concerts.
The repertoire of the "Pops" includes about 400 works,
not only the best symphonies, but also some of the finest
examples of shorter and lighter compositions, including
the works of popular composers such as Gershwin, Por-
ter, Grofe, and Alec Templeton. There has been a con-
sistent policy of developing feature programs "Gay
Nineties Nights," Wagner Nights, Gilbert and Sullivan
programs. One of the most successful of the last season
was a "Candid Camera Night." Camera enthusiasts could
take shots of the audience and orchestra throughout the
program, but flashlights were permitted only during the
last number Strauss' Thunder and Lightning Polka.

Concerts for Varied Audiences 181

An effective promotional device has been the sponsor-
ship of special nights by schools, universities, and other
organizations. The Harvard, M. I. T., and Roxbury
Latin School nights are among the traditions of long
standing. Customs have changed, however, since the days
when Harvard Night required an extra force of ushers
and police and when M. I. T. students snake-danced in a
body to the concert. Today the undergraduates bring
their girls and demand such music as Brahms' Akade-
mische Fest Overture. Conditions are varied to meet the
demands of different sponsors, and wines and liquors are
not served if the organization prefers to omit this fea-
ture. All kinds of newspaper publicity and other promo-
tion are also used for the "Pops." Each week about
20,000 folders are distributed in schools and stores, and
an actual demand has grown up for them on the part of
many of these institutions. The price of the concerts
ranges from 25 cents to $i. The "Pop" concerts are
practically self-sustaining in that the total receipts just
about cover the total costs, except management over-
head, and the refreshment service pays for itself/

Imitation of the Boston type of popular concert has
been limited by kck of adequate hall facilities. Recently
attempts have been made with some success in Minne-
apolis, St. Paul, and Cleveland. In St. Paul a huge indoor
ice-skating rink has been converted into a concert hall
where performances are given by members of the
Minneapolis Symphony Orchestra in conjunction with

7 The relative profitability of these "Pops," as of die summer
series of several orchestras, is due partly to die lower orchestra sal-
aries paid.

1 82 America's Symphony Orchestras

an attractive ice carnival. A four-week series of summer
"pops" were given in Cleveland in 1939 in the Munici-
pal Auditorium where tables were set up and refresh-
ments served.

A review of the situation with regard to popular con-
certs suggests that the type of "pops" that have the best
chance of success and that w T ill contribute most to the
financial stability of the orchestra are those which are
clearly distinguished in programming and atmosphere
from the regular symphony concerts, and which, if pos-
sible, are given at a time other than during the regular
season. A series of this kind, if carried on with imagina-
tion and showmanship, and intelligently promoted over
a period of time, will not only contribute materially to
the orchestra budget, but may serve as a pleasant intro-
duction to a life-long interest in symphonic music for
countless people and may thus help to increase the regu-
lar series audience. Attention should again be called to
the fact that emulation of the Boston "Pops" is possible
only if the right type of hall facilities are available. Fur-
thermore, the task of firmly establishing a "pops" series
is more difficult than in the past because of the greater
number of competing leisure-time activities, and now re-
quires more aggressive and continuous promotion.

Children^ and Youth Concerts

Concerts for children and young people are assuming
more and more importance in the schedules of sym-
phony orchestras and represent one of the most signifi-
cant developments in recent years. It is frankly recog-

Concerts for Varied Audiences 183

nized that these concerts cannot be primarily a source of
operating income. They are undertaken as an educa-
tional service which will yield a twofold advantage to
the orchestra: building new adult audiences over a pe-
riod of time, and establishing the symphony firmly as an
institution deserving the financial support of the commu-
nity. During the 1938-39 season 12 of the 16 major or-
chestras gave series of concerts for children, and 8 pre-
sented youth concerts. While information regarding the
children's concerts was incomplete for secondary orches-
tras, it appears that a number of the more important give
2 or 3 of these concerts a season. Sometimes the distinc-
tion between these two forms of conceits is not entirely
clear, but in general the children's concerts are designed
primarily for grade and junior high-school students,
while youth concerts are intended for those of high-
school and college age.

The number of children's concerts given by major or-
chestras varies from 2 in Indianapolis to 1 5 in Cleveland
and Rochester. The Detroit children's series consist of 10
concerts, while most of the other orchestras present 5 or
6 concerts. While the series usually are planned to intro-
duce the children to the instruments of the orchestra, ac-
quaint them with various forms of music and music of
different nations and composers, there are two methods
of presenting children's concerts: .one is typified by
the New York Philharmonic-Symphony Young People's
Concerts where the emphasis is pkced on the pro-
gramming of the concerts themselves, which are sold
through the ordinary channels of promotion, and the
other, best exemplified by Cleveland and Detroit, where

184 America's Symphony Orchestras

concerts are presented in close co-operation with the
school system and the children are prepared for them
in the course of their classroom work. At the present
time about an equal number of orchestras present the
two types.

The New York Philharmonic-Symphony Society has
presented its 6 Young People's Concerts on Saturday
mornings in Carnegie Hall. For many years they were
conducted by Ernest Schelling, who gave an informal
talk, illustrated with stereopticon slides, dealing with the
various compositions, composers, and instruments of the
orchestra featured in the program. The children are en-
couraged to keep notebooks, and awards are given at the
end of the series for the best notebooks presented. Sub-
scription prices range from $1.25 to $12.50 a seat for
the series. The concerts are usually sold out and, in-
deed, have been so successful that 3 additional concerts
have been planned for the 1939-40 season. The pattern
of children's concerts in Chicago where they were be-
gun twenty years ago, and that in Cincinnati, Indian-
apolis, and San Francisco, resemble in general the New
York Philharmonic-Symphony plan.

The outstanding examples of children's concerts,
given with the co-operation of the school system, are
found in Cleveland and Detroit. From its founding, the
Musical Arts Association of Cleveland, which supports
the orchestra, gave assistance to student orchestras in the
high schools and the Music School Settlement. Founda-
tion had been laid earlier for an interest in children's
concerts by Mrs. Adella Prentiss Hughes who presented
one or two a season by the visiting orchestras which she

Concerts for Varied Audiences 185

brought to Cleveland. This small number of concerts
was felt to be inadequate and emphasized the need for a
local symphony orchestra which could provide wider
musical education for the young people in the commu-
nity, in addition to its other services. During its first
year, the Cleveland Orchestra gave evening concerts for
parents and children in the high-school buildings. Out
of these concerts grew the present program of Educa-
tional Concerts, inaugurated in 1920, the purpose of
which has been to integrate the orchestra's program with
the music appreciation work in the public, private, and
parochial schools. The Department of Music of the
Cleveland Public Schools has given its active support,
and since 1930 the integration has been carried out
through Miss Lillian Luveme Baldwin, Assistant Super-
visor of Music Appreciation. Each season's Educational
Concerts are planned simultaneously with the study ma-
terial which is to be used as the basis for the music ap-
preciation course throughout the school system. Printed
booklets and pamphlets are carefully prepared and writ-
ten in a vivid and charming style that is interesting to
adult teachers as well as children. 8 Every child who at-
tends the concerts has had at least ten study periods on
the program to be played and the composers represented.
Extensive use is made of fine recordings of the composi-
tions in preparing the students for the actual concerts.
The Cleveland Board of Education encourages co-opera-

8 Miss Baldwin's booklets have been transcribed into Braille and
have been used by the blind children of the Waring School of
Cleveland, many of whom now attend the concerts, as well as in
other parts of the country.

1 86 America's Symphony Orchestras

tion on the part of teachers in other departments. The
study of other arts, essays and compositions, history and
geography often provide background for the music ma-
terial. The whole plan is designed with a thought toward
the continuity of the child's musical experience, since he
is presumably to be a listener over a period of years.

The public schools sell tickets to the school children
for 25 cents and the children attend the concerts in
groups, accompanied by a teacher or parent. The con-
certs are given in Severance Hall in an atmosphere of
beauty, which, in itself, contributes to the children's ex-
perience. Instead of distributing the children's concerts
throughout the season, they are now massed in two gala
weeks, one in January and one in March, as near the end
of each school semester as is possible for the orchestra to
arrange. This not only gives more time for preparation
and makes the concerts the grand climax to weeks of
study with phonograph records, but focuses the atten-
tion of the children and of the whole community on the
series. Programs are planned at three musical levels: the
Little Folks Program, for grades three and four; Chil-
dren's Concerts, grades five and six; Young People's
Concerts, for junior and senior high schools.

These Educational Concerts have given rise to annual
Music Memory and Appreciation Contests. Begun for
young listeners as musical sporting events, they attracted
such widespread attention among parents, many of
whom began to realize that their children were better
informed about music than they themselves, that study
classes were formed in various church, club, and P.T.A.
groups, and adult teams were entered in the contests.

Concerts for Varied Audiences 187

With the introduction of printed study material and the
growing enthusiasm for children's concerts, the adult
classes have increased until now hundreds of women
are interested in the work. A year ago some husbands
were heard from and now two evening classes are being
carried on for men.

The educational Concerts of the Cleveland Orchestra
are sponsored by the Women's Committee of the orches-
tra and are its major undertaking. It is this committee
that arranges in advance efficient transportation of the
groups from the various schools to Severance Hall, pro-
vides for monitor service at Severance Hall on the con-
cert days, and handles many other details in connection
with the Educational Concerts.

The Educational Concerts are intended not only for
the schools of greater Cleveland, but for the suburban
schools as well, 9 smaller Northern Ohio city schools
having participated in the project during the orchestra's
1937-38 season when 35,291 children attended the 19
concerts in the educational series. The Cleveland Or-
chestra has not confined this interesting and valuable
contribution in public education to Northern Ohio, for
in the nineteen years of its touring, 123 children's con-
certs have been played in the many cities the orchestra
has visited.

In Detroit the co-operation between the orchestra and
the school system follows a somewhat different pattern.
The 10 concerts for children, given by the Detroit Sym-
phony Orchestra, are free, and the co-ordination with
the music appreciation work in the schools is carried out
under Mrs. Edith Rhetts Tilton, who is not employed by

1 88 Americas Symphony Orchestras

the school authorities but holds the position of Educa-
tional Director of the orchestra. The concerts are de-
signed for children in the sixth, seventh, and eighth
grades and are part of a course of studies conducted in
19 different school systems in and near Detroit. Only
those schools are eligible for the distribution of free tick-
ets which agree to provide specified work in music ap-
preciation. The music appreciation teachers must attend
a training course conducted by Mrs. Tilton and use her
program of instruction. The application for free tickets
must come directly from the school superintendent, thus
making the participation an official activity of the school
rather than an effort of the individual music supervisor.
One free ticket is distributed for every four children en-
rolled. Since there is no charge for the tickets and there
are not enough for every child, the tickets themselves
must be "earned" by the children. The basis of selection
of those receiving tickets is left to the individual teach-
ers, who set up their own criteria and distribute tickets
as a reward for excellence in various branches of school
activity. The criteria are changed from time to time to
avoid awarding tickets repeatedly to the same children.
Since the attendance at each concert is 2,500 and no
child goes more than once a year, about 25,000 different
children attend the series each year.

The concerts are given from two to three o'clock in
the afternoon during the regular orchestra season. The
seats are reserved and the full staff of ushers is on hand
to seat the children with the same courtesy that would
be extended to an adult audience. The children are
brought to the auditorium in busses provided by the city

Concerts for Varied Audiences 189

and are returned to their schoolrooms before the busses
are needed to handle the home-going rush hour. All of
the schools are equipped with radio and the children
who remain in the classrooms hear the same program
broadcast from the auditorium. Every child who attends
the concerts has been prepared by the course of study,
which consists largely of listening to records of the com-
positions to be played at the concerts. Explanatory notes
used by the teachers, and other literature for the chil-
dren, are prepared by Mrs. Tilton, mimeographed and
distributed free of charge by the Board of Education.
Every program closes with a song that the children have
learned at school. No printed programs are used, but the
compositions are announced by Mrs. Tilton with brief
descriptions. The remarks at the concert are reduced to a
minimum in order to utilize the time primarily for listen-
ing to the music.

There has been some discussion as to the advisability
of giving free children's concerts. Many people are of
the opinion that free concerts teach children everything
about music except the important fact that it must be
supported financially by them and their community. On
the other hand, free concerts possess the obvious advan-
tage of making symphonic music available to children
regardless of their ability to pay for it. The Board of
Directors of the Detroit Symphony Orchestra have
adopted the policy of free tickets, since they believe this
educational service will enhance the value of the orches-
tra as a community institution and thus enlist the finan-
cial support of many who might otherwise not be in-
terested. This decision is made possible by the fact that

190 America's Symphony Orchestras

the number of services for which they have contracted
are otherwise not fully used and that therefore the chil-
dren's concerts can be given without extra salary costs.

The only other series of free children's concerts is
given in Rochester. The Rochester Civic Orchestra pre-
sents 15 concerts in the auditoriums of the various local
high schools and uses 46 musicians. School concerts are
an hour in length and are divided into two parts. One
half -hour consists of a symphonic program presented for
the students of the high school in which the concert is
taking place. The second half -hour is devoted to a special
music education program broadcast to all the junior high
schools in the city. The concerts are in charge of a mem-
ber of the music department of the school system who
selects the programs, prepares the forms for the note-
books, writes the explanatory notes, and acts as com-
mentator in the broadcasts. Attendance at the average
concert numbers upwards of a thousand students.

In St. Louis and Kansas City the school boards co-
operate with the orchestra to the extent of buying the
concerts and providing preparatory work in their music
appreciation courses, but they follow the Cleveland
practice of charging admission to concerts. A similar
program is being planned in Washington for the 1939-40
season. In Los Angeles the children's concerts, which
have been given during the last eleven years, are de-
signed for the elementary grades only, and preparatory
classroom work is given in the schools. Admission is 10
cents and die children are taken to and from the concerts
in school busses.

A number of orchestras present a series of youth con-

Concerts for Varied Audiences 191

certs, designed mainly for young people of high-school
and college age. These vary greatly as to nature, and
there is usually no preparation in the schools. The Phila-
delphia Youth Concerts Association sponsors 5 orchestra
concerts and i recital each season. Admission is restricted
to young people from thirteen to twenty-five years old
and to adults accompanying groups of children. From 3
to 6 youth concerts are given each season by the Boston,
Cleveland, Detroit, Indianapolis, Minneapolis, Pittsburgh,
and St. Louis orchestras. Prices for youth concerts are
generally similar to those of "pops" and programs are
a compromise between the regular series concerts, the
"pops," and the educational aspects of children's pro-
grams. The Detroit Youth Concerts, for example, are
designed "for young people of all ages" who want to
learn about the orchestras and have its instruments ex-
plained to them. About 40 per cent of the audience are
adults and the concerts are generally sold out. Boston
established a series of 6 Youth Symphony Concerts for
the first time in 1938-39. The concerts are given by 70
members of the Boston Symphony Orchestra and are de-
signed for junior and senior high-school students, par-
ticularly those studying instruments. Promotion is done
primarily through the music supervisors, who receive
programs and notes well in advance of the concert. The
series is financed separately from the regular symphony
season.

An interesting experiment in co-ordinating college
credit courses with symphony concerts was attempted
by the Detroit Symphony in 1936-37 and, in more re-

1 92 America's Symphony Orchestras

cent seasons, by the Pittsburgh Symphony Orchestra.
The sponsors of the Detroit series of 8 lecture concerts
included outstanding local institutions engaged in adult
education. Three of these, Wayne University, Univer-
sity of Detroit, and Highland Park Junior College, gave
credit for concert attendance in connection with music
appreciation work on campus. In Pittsburgh a series of
1 6 concerts are given in the Carnegie Music Hall on the
campus of the Carnegie Institute of Technology. Other
co-operating schools are the University of Pittsburgh,
Duquesne University, Mount Mercy College, and die
Pennsylvania College for Women. Credit is given for at-
tendance at 12 of the 1 6 concerts and the completion of
the required academic work. During the 1938-39 season,
approximately 450 students enrolled for the concerts in
addition to a large number of adults. The sponsoring
schools do not contribute to the financial support of the
concerts. The concerts are about one and a half hours
long, of which about one-half of the time is devoted to
a lecture by John Erskine, and the remainder to the
orchestra.

There is no doubt that, in terms of direct cash con-
tribution to the budget, concerts for children and youth
are the least profitable activities of symphony orchestras.
But viewed in terms of community service and future
audiences, they probably yield the greatest revenue.
After all, a symphony orchestra cannot be viewed as a
strictly commercial venture, but must be considered as
an integral part of the cultural resources of the commu-
nityjust as are colleges and universities, art galleries,

Concerts for Varied Audiences 193

and museums. The place of music in our educational
scheme has been well summarized by Miss Baldwin: 9

"Making a living, in an economic sense, is not an imme-
diate need of childhood. Training for special trades and
professions belongs to more mature years and should have
a foundation of general knowledge and right attitudes.

"With all due respect to the fine vocational training of-
fered in the upper grades of many of our schools, the fact
nevertheless remains that the first and heaviest responsibility
of public education is, and always will be, the building of
that foundation of general knowledge and right attitudes
upon which rests the security of the individual and the state.

"Making living worth while is an immediate need of
childhood. It is an idea that must be planted early and
tended carefully through all the growing years, and so,
from the first day he enters the public schools, the child is
given not only the practical tools of communication and
barter reading, writing and arithmetic but also the keys
to better ways of living. For his bodily health there is
physical education; for his understanding and adjustment
to the world in which he lives there are the sciences, nat-
ural and social; and for his emotional and spiritual develop-
ment there are the fine arts.

"Of all the arts, music, perhaps, reaches the most people
and touches them most intimately. Whether we ourselves
sing or play or merely listen, we know that music is a part
of life. Going back to the far-off days of the psalmist David
and the philosopher Rato, records show that the wise men
of all times and countries have considered music not a lux-
ury but a necessity to public welfare. Music is civilized
man's safest emotional escape valve as well as his confes-
sional. It is the universal language that begins where words
leave off. . . .

9 Lillian Baldwin, <e Why Teach Music in Public Schools?", Music
Educators Journal, October, 1939.

194 America's Symphony Orchestras

"There Is yet another musical experience, less well known
to those outside the schools because it is less showy than
the singing and playing, but none the less important. This
is what is known as musicianly listening. Thousands of
school children throughout the United States are discovering
that music is something more than pretty sound. They are
learning that music may be the voice of a nation speaking;
it may be the emotional record of a period of world history;
the reflection of a famous story or the portrait of a great
man done in tone. These young listeners are also learning to
recognize and enjoy the many fine details of music's work-
manshipdetails which the untrained listener misses.

"Not only are the schools teaching children how to sing
and play and listen, but what to sing and play and listen to.
The platitude 'Only the best is good enough for our chil-
dren' is but an idle boast unless we definitely teach them
to choose the best and to enjoy it."

Summer Seasons

Summer concert series are the most important expe-
dient which have been developed in recent years for
lengthening the term of employment for symphony or-
chestra players and for reaching new audiences. They
differ from the other types of concert diversification in
that they usually are covered by a separate union agree-
ment. To some extent summer concerts have taken the
place of the postseason barnstorming engaged in by or-
chestras during the heyday of touring. All 3 orchestras
in Group I have summer seasons, 5 of the 8 Group II
orchestras, while the National Symphony Orchestra,
alone of Group III, gives summer concerts. As noted in

Concerts for Varied Audiences 195

an earlier chapter, 10 the Cincinnati "Zoo" operas, St.
Louis light opera, and the San Francisco grand opera,
given in the fall immediately preceding the symphony
season, also employ a large number of local symphony
players.

Summer seasons are usually from 6 to 8 weeks, al-
though the Boston free Esplanade Concerts are given for
only 4 weeks, while the Boston Symphony's Berkshire
Festival lasts 2 weeks and includes 6 concerts. The num-
ber of concerts a week varies from 2 in Washington to
7 for the New York Philharmonic-Symphony Orchestra
concerts at the Lewisohn Stadium. Admission charges
are from 25 cents to $1.50 in most series and range as
high as $1.50 to $3 for single admissions, or $3 to $7.50
for subscriptions to 3 concerts in the case of the Berk-
shire Festival. Two series, the Boston Esplanade and the
Detroit Belle Isle Concerts, are given free of charge. The
Chicago Symphony Orchestra presents a six weeks* sum-
mer season at Ravinia Park which is sponsored by a
group organized for that purpose, and the heaviest guar-
antor of which is the orchestra's own sustaining associa-
tion. In addition, it presents 8 concerts as part of the free
Grant Park series sponsored by the Chicago Park Board.
Since the Washington "Sunset Symphonies" are pre-
sented on government property, it has been necessary
to allow space for those wishing to attend the concerts
without paying admission. However, reserved seats are
provided at a single admission charge of from 75 cents

10 See Chapter Four, in which summer seasons were discussed from
the point of view of rates of pay and their contribution to the total
anrml income of orchestra players,

196 America's Symphony Orchestras

to $r, with a slight saving on subscriptions for 6 con-
certs, while other seating facilities, not reserved, are
made available at from 25 cents to 50 cents.

Since the majority of these concerts are given out of
doors, huge crowds can be handled. For example, the
approximate seating capacity of the Hollywood Bowl
and the Lewisohn Stadium is 20,000. The capacity of the
covered auditorium or Music Shed of the Boston Sym-
phony's Berkshire Festival is 5,700. Because of the large
seating capacities, it has been necessary in a number of
instances to resort to amplification. In the Hollywood
Bowl, however, the acoustics are so excellent that audi-
ences of 10,000 to 16,000 can hear the symphony con-
certs; amplification and sound systems are used only for
opera performances when audiences sometimes run up
to 20,000 or more. No amplification is used at the Espla-
nade or Berkshire concerts of the Boston Symphony.
For the latter the Music Shed provides most satisfactory
conditions.

The programs presented during summer seasons vary
greatly. At the Berkshires, and, to a considerable ex-
tent, at the Lewisohn Stadium and Robin Hood Dell
concerts, the programs resemble those of the regular sea-
son. Indeed, there seems to be a trend on the part of sum-
mer conceits as a whole to get away from the "pop"
type of program and to present standard symphonic
works. An important feature of summer concert pro-
gramming is the extent to which soloists and other spe-
cial features are used to attract the crowd. Philadelphia
and Los Angeles vary their season by presenting some
opera, and ballet and dance groups are being used in-

Concerts for Varied Audiences 197

creasingly. The popular type of artist with box-office
appeal is interspersed between younger and lesser known
artists to attract the large summer crowds. Guest con-
ductors are used to a considerable degree. Audiences of
5,000 to 10,000 are common at many summer series and
much larger crowds turn out for special attractions.

Because amplification must be used in some instances
and the conditions under which the concerts are pre-
sented are not ideal, the quality of tone in most summer
concerts is not that of performances given in the regular
auditoriums. Nevertheless, these concerts represent a
great wealth of musical enjoyment which has been made
available to masses of people at reasonable prices and un-
der pleasant and informal conditions. To thousands, who
may be unable to pay the regular season prices, summer
concerts have represented almost the only opportunity
to both see and hear a symphony orchestra. To others
they may serve as an introduction to symphonic music
and an awakening of interest which may bring them to
the orchestra's regular series. Attendance at summer con-
certs throughout the country is one of the most spec-
tacular indications of the hold that symphonic music has
taken upon the public and of the huge potential audience
which might be reached through other forms of orches-
tra service.

The management of summer series concerts often is
not the same as that of the regular season. At various
times they have been given by what amounted to a sub-
sidiary of the orchestras, by entirely separate organiza-
tions, and, in a few instances, co-operatively by the men.
While the most satisfactory arrangement remains to be

198 Americas Symphony Orchestras

worked out, it can at least be said that co-operative man-
agement has proven a failure because of lack of expert
and professional direction. The variety of managements
and the degree to which they have changed from year
to year has made it impossible to make a detailed study
of these enterprises. It appears, however, that in recent
years an occasional summer season has been self -financ-
ing, and that, on the whole, operating deficits are rela-
tively smaller than for the regular season. In the case of
the free concerts, municipal and state support have some-
times been provided. The Grant Park Concerts of the
Chicago Symphony Orchestra are paid for by the Park
board; the Gty of Detroit has at various times contrib-
uted all or part of the cost of the Belle Isle summer sea-
son; and the State of Massachusetts makes a small con-
tribution to the Esplanade Concerts. In all cases, summer
deficits are financed by private contributions.

While several seasons ago a number of symphony or-
chestras attempted to combine opera with their other ac-
tivities, this was generally unsuccessful because of the
high expense involved.

EIGHT

GOVERNMENT SUPPORT FOR
SYMPHONY ORCHESTRAS

GOVERNMENT support of music has long been traditional
in many European countries, It is relatively new in the
United States, however, and has been on a small scale
until the advent of the Federal Music Project. In a few
instances, state, county, or municipal governments have
contributed to the support of symphony orchestras either
by maintaining orchestras, by small contributions to the
budget, or by the purchase of conceits. This support has
been given to music as an art and not as a relief or em-
ployment expedient. The Federal Music Project, on the
other hand, has been primarily a relief agency on a na-
tion-wide scale, but it has built up and supported com-
plete symphony orchestras, as well as a wide variety of
other performing and teaching units. While recognizing
the importance of the relief aspects of the Federal Music
Project, this survey is interested in it primarily for its
contribution to the development of symphonic music.

199

200 America's Symphony Orchestras

State, County, and Municipal Support

Only two American communities have followed the
practice of supporting orchestras. Long Beach, Califor-
nia, maintains a Woman's Symphony Orchestra on a
year-round basis, partly as a community service and
partly as a promotional device. The orchestra was estab-
lished in 1925. It has 120 members and presents a season
of 5 regular symphony concerts, with about an equal
number of popular concerts and frequent out-of-town
appearances. No charge is made for admission. The city
does not make public the amount spent on maintaining
this organization.

The city of Baltimore has a municipally supported or-
chestra which was established in 1915 and is under the
supervision of a Municipal Department of Music. The
entire cost of the orchestra, amounting to about $34,000,
is a part of the city budget, and the income from con-
certs, amounting to about 25 per cent of the cost of
maintaining the orchestra, goes directly to the city. The
orchestra ranges from 85 to 95 members, depending on
the program to be played. The men are paid on a per-
concert-and-rehearsal basis. The season schedule includes
6 adult and 5 young people's concerts. The price range
for the regular concerts is 25 cents to $i. Tickets are not
sold by subscription in order to avoid restricting the en-
joyment of this public service to a few season ticket
holders. No more than 6 tickets can be sold to one per-
son. Concerts are given in the Lyric Theater, with a ca-
pacity of 2,700, and usually to sold-out houses. In char-

Government Support 201

acter and quality the orchestra is probably comparable
to some of the more ambitious secondary orchestras and
has the usual handicaps arising from a personnel paid on
a per-concert basis. The city feels that the present scope
of activities is appropriate for a municipal undertaking
and there is little likelihood that the orchestra will at-
tempt to develop into a major symphony with a full sea-
son schedule of concerts and with the men paid by the
week. Children's concerts are given in conjunction with
the school system. The Municipal Department of Music
also supports the City Colored Orchestra, an amateur
and recreational project which became a municipal proj-
ect in 1931, a chorus, and provides summer band con-
ceits.

Contributions to the budgets of privately operated
symphony orchestras are made by several government
units. The State of Massachusetts, for example, contrib-
utes $5,000 to the Boston Symphony Orchestra to assist
in defraying the cost of the free Esplanade Concerts.
These concerts are given on state property, and the
Edward Hatch Memorial Shell, now in process of con-
struction, has been designed especially with a view to
these symphony concerts, although it can be used for
other purposes. The State of Vermont appropriates
$1,000 to the support of the Vermont Symphony Or-
chestra. The City of Detroit has contributed to the costs
of the free summer concerts of the Detroit Symphony
Orchestra, given on Belle Isle. For a period of seven
years the city paid the entire cost, but left the manage-
ment in the hands of the orchestra. For four years dur-
ing the depression these concerts were discontinued, but

202 Americas Symphony Orchestras

they were thereafter revived, with the city contributing
a part of the cost and the orchestra management raising
the balance.

The County of Los Angeles contributes $7,500 to-
ward the Hollywood Bowl concerts of the Philharmonic
Orchestra of Los Angeles. This is not called a public
subsidy but is recognized as part of the publicity pro-
gram of the county. The City of Pasadena contributes
toward the maintenance of the Civic Orchestra which
gives 6 concerts a season, free to the public. Kansas City
may be said to contribute indirectly to the Kansas City
Symphony Orchestra in that it makes the Municipal
Auditorium available for concerts at a very low rental.
While the Kansas City Chamber of Commerce is not a
part of the city government, it seems appropriate to call
attention here to its considerable contribution in the
form of office space and clerical service for the orches-
tra management.

Support in the form of the purchase of concerts is also
practiced in Kansas City where the municipality guaran-
tees 3 concerts a year to be given to the school children.
Five concerts are bought by the St. Louis Board of Edu-
cation, to be given in local high schools. Occasionally
the board also purchases special concerts for conven-
tions of educators or other similar groups.

The most important instance of the purchase of con-
certs is in San Francisco. Since 1935 the orchestra has
received annually about $33,000 to $35,000 as payment
for 10 concerts. Even earlier the city had bought 3 or 4
concerts from the Musical Association, which supports
the symphony, at a cost of about $5,000 a year. In 1934,

Government Support 205

after a period of financial difficulty, the orchestra was
discontinued and it became apparent that if the sym-
phony musicians \vere to be employed for a season of
concerts, a larger measure of assistance would be re-
quired from the city. An amendment to the city charter
calling for a one-half-cent tax per hundred dollars to
provide symphony concerts at low prices was put to a
vote in 1935 and was passed by more than two to one.
The proposal was supported by the local musicians'
union and by the newspapers.

Since the city is legally forbidden to subsidize any pri-
vate organization, the proceeds of this tax must be used
not as a direct contribution to the San Francisco Sym-
phony Orchestra, but rather for the purchase of con-
certs. This means that the city is actually in the concert
business, which it conducts through the Music Commit-
tee of the City Art Commission. Though the one-half-
cent tax on the basis of present assessed valuation of San
Francisco yields about $42,000, the net amount available
for conceits is reduced by the cost of promotion, adver-
tising, fees to assisting artists, and the expenses of the
Music Committee.

While the city agrees to buy 10 concerts, there is
usually an eleventh. For this the orchestra receives any
balance of the tax appropriation and net proceeds of
ticket sales, which cannot be kept by the city but must
be plowed back into the orchestra. Admission for this
concert is free.

On the basis of subscription prices, admissions to the
city concerts range from 20 to 80 cents per concert,
while single admission prices are about 20 per cent

204 America's Symphony Orchestras

higher. These prices are to be compared with a range
of 50 cents to $2.50 for the regular Friday afternoon
concerts, and 50 cents to $1.50 for the Saturday nio-ht
concerts sponsored by the Musical Association. The 2
regular series are given in the War Memorial Audito-
rium, with a capacity of 3,500, while the city series are
held in the Civic Center Auditorium, seating 6,000.

The city concerts are more "popular" than the regu-
lar series. The programs include more of the shorter
symphonic works, and encores are permitted. The Art
Commission selects its own assisting artists and guest
conductors, but they have found it to their advantage
to select big box-office names. Representative artists in
the city series include Leopold Stokowski, Grace Moore,
and Nino Martini.

Several problems have arisen in the administration of
this plan. During the first year it was felt that the low-
priced municipal concerts were in too close competition
with the regular symphony concerts sponsored by the
Music Association, but in recent years this difficulty
seems to have been overcome. Three or 4 very popular
concerts are given on city money, one invariably with
the Municipal Chorus, others with popular soloists, and
usually 6 performances with the Monte Carlo Ballet
Russe, A criticism that much community money goes to
pay the fees of expensive popular artists and the Russian
Ballet rather than for the support of the local symphony
is answered by the fact that these concerts pay very well
and that the proceeds are put to providing other concerts
at low prices to the public. The availability of municipal
money may have increased somewhat the difficulty of

Government Support 205

raising the orchestra's maintenance fund from private
sources. On the whole, however, the present arrange-
ment has helped to break down the idea that the sym-
phony is supported by a small clique and has made it
rather an object of community pride.

The Federal Music Project

The Federal Music Project represents government
support of music on a colossal scale* It was formed in
July, 1935, as a unit of the Works Progress Administra-
tion, to employ and rehabilitate unemployed musicians
and to enable them to retain their skill until their return
to private employment. The majority of musicians em-
ployed by the project had been on relief rolls. Only
skilled musicians were eligible for this form of relief and
their qualifications were usually passed upon by audition
boards of nonrelief musicians.

The project has established a wide variety of musical
services teaching units, choral and opera units, chamber
music ensembles, dance orchestras, bands, concert and
symphony orchestras. In developing the program, first
consideration was given to the number of needy musi-
cians in the community and the kind of unit that might
be established. Many musicians were taken from labor
jobs, to which they had been assigned, and given an op-
portunity to retain their professional skill. The project
accepted not only older musicians, who had been thrown
out of employment, but also youngsters fresh from their
conservatory or other training and unable to find jobs.
In order to complete the Instrumentation for various

206 America's Symphony Orchestras

units, particularly conceit and symphony orchestras, the
project has followed the principle of engaging necessary
nonrelief musicians, subject to certain quota regulations.
As of August 31, 1936, nonrelief musicians represented
about 10 per cent of all those employed by the project,
and about 16.5 per cent of those in symphony orchestras.
This was later reduced to 5 per cent nonrelief personnel
for the project as a whole. The proportion of nonrelief
players in the symphony units remained somewhat higher
and these men were largely "first-chair" players, who
were brought in at higher-than-relief wages, not only to
play but also to help train the other members.

The policy of charging admission was adopted in
March, 1936, in order to avoid creating the impression
that music does not need to be privately supported. Fur-
thermore, the project was committed to the theory that
unless people themselves want music sufficiently to be
willing to pay for it, the problem of the musicians' fu-
ture employment cannot be solved. Admissions have
usually ranged from 25 to 40 cents, or 55 cents for regu-
lar symphony concerts, and 10 to 15 cents for children's
and school concerts. A great number of free concerts
have been given, however, principally school and out-
door summer concerts. In some cases there have been
complaints against the admission charges on the ground
that the public already has been taxed to support them.
This argument has been answered by calling attention to
the fact that communities without Federal Music Project
orchestras also bear part of the tax burden, and that au-
diences therefore can justifiably be charged for the privi-
lege of hearing them.

Government Support 207

On the whole the Federal Music Project symphony
orchestras cannot be said to compete with orchestras
which already have been established. The project has
tried to keep out of communities where it might en-
courage local private sponsors to drop their support of
existing orchestras, although in a few instances it is pos-
sible that for one reason or another the Federal Music
Project orchestra may have put a struggling secondary
organization out of business. In large cities, where well-
established private orchestras exist, the project orchestras
have aimed at audiences not already reached by the exist-
ing organization.

Scope of Federal Symphony Orchestra Activities

From the beginning of its public program in October,
1935, to August, 1939, the Federal Music Project had
cost $50,463,000. At the time of the greatest employ-
ment, in November, 1936, the project had 15,381 musi-
cians on the rolls of nearly 700 projects. At that time
there were 36 symphony orchestras. As of April i, 1939,
total employment of the project was 9,582, of whom
1,957, or a little more than 20 per cent, were in the 28
orchestras of symphonic caliber then in existence, as
shown in Table X, Up to April i, 1939, the project had
given 202,486 performances, of which 16,707 were those
of its symphony orchestras. Its total attendance had been
1 32,255,000, of which about 1 2,500,000, or nearly 10 per
cent, were for symphony concerts, as indicated in Table
XI. This means that throughout the entire history of the
project, symphony audiences have averaged about 750

2o8 America's Symphony Orchestras

per concert, although there have been wide variations,
and some of the paid audiences have been as large as
7,000.

TABLE X. EMPLOYMENT IN THE FEDERAL Music PROJ-
ECT: APRIL i, 1939

Number of
Type of Unit Projects Employment

Symphony Orchestras 28 J >957

Concert Orchestras 91 2,049

Bands Concert and Military 67 2,024

Dance Orchestras and Bands 52 604

Chamber Music Ensembles 18 162

Opera Units 9 528

Choral Groups 22 402

Soloists Instrumental and Vocal i 1 1

Teaching Units (429 Centers) 74 969

Copyists Arrangers Librarians, etc. 13 169

Administrative Units 36 707

Total 411 9,582

TABLE XI. NUMBER OF PERFORMANCES AND ATTEND-
ANCE FOR THE FEDERAL Music PROJECT FROM IN-
CEPTION TO APRIL i, 1939

Type of Unit Performances Attendance

Symphony Orchestras 16,707 12,484,532

Concert Orchestras 53,366 37,591,040

Bands Concert and Military 42,452 40,099,219

Dance Orchestras and Bands . . . 42,004 20,466,242

Chamber Music Ensembles 9,010 4,489,112

Opera Units 745 517,860

Choral Groups 1 1,993 699,862

Soloists Instrumental and Vocal 1,675 2 59A$

Students' Performances 24,534 9*347,838

Total 202,486 132,255,185

Government Support 209

In the spring of 1939, the 28 federal symphony orches-
tras ranged in size from 42 to 1 10 members and averaged
65 players. Those in the larger cities were about the
same size as the major symphony orchestras located
there. The two project orchestras in New York City, for
example, had 97 and 101 members; the Federal Sym-
phony of Northern California in San Francisco, 105; the
Los Angeles Federal Symphony Number One, 83; and
the Illinois Federal Symphony of Chicago, 80.

In addition to the relief and nonrelief musicians on
the project payrolls, some of these orchestras were aug-
mented by musicians paid by a sponsoring organization
for either a series of concerts or single concerts. In some
cases extra musicians were paid by the local musicians*
union or by municipal groups such as park boards. If
these extra musicians are included, the average size of
the Federal Music Project orchestras is brought up to 69,
The Buffalo Philharmonic Orchestra Society adds 12
men to the Federal Music Project group of 67 to form
the Buffalo Orchestra of 79 members, giving a series of
1 2 regular concerts. The San Diego Symphony Orches-
tra Association adds 40 men to the San Diego Federal
Orchestra, creating an orchestra of 80 players, princi-
pally for its series of summer concerts. The Oklahoma
Federal Symphony is augmented by 1 2 men paid by the
Oklahoma State Symphony Society, making a total of 91
for the concerts sponsored by the society in 20 commu-
nities in the state. In Milwaukee, the Wisconsin Federal
Symphony Orchestra is occasionally increased by 30
members to make a total of 100 players. The additional
cost is borne by different sponsoring associations, some-

2io America's Symphony Orchestras

times by the park board, while the local musicians' union
contributes $400 to the salaries of these players. In Syra-
cuse the cost of the additional 10 to 14 men is met by
the Syracuse Symphony Committee and by a $500 con-
tribution from the local union. In Albany and Detroit
the union also contributes toward extra players.

Sponsorship may go beyond augmenting the personnel
of the orchestra and include payments for guest artists,
advertising, and promotion, increasing the salary of the
conductor, and for hall rental. Under these circum-
stances, the sponsoring organization to a large extent per-
forms the functions of the usual sustaining association of
a privately maintained orchestra. Indeed, a few of these
joint ventures are looking forward to eventual evolution
into private organizations supported by their own com-
munities without federal assistance.

Buffalo is probably the best example of joint federal
and community sponsorship of an orchestra. Until the
fall of 1939, the orchestra as a whole operated on a com-
posite budget, the Philharmonic Society guaranteeing ap-
proximately $11,000 annually. This sum was subscribed
by approximately 100 persons contributing from $25 to
$1,000 each. The Federal Music Project paid the salaries
of 67 men, while the society stood the cost of 12 addi-
tional players, assisting artists, advertising, music, and a
portion of hall rental. During the first year, the society
agreed to provide the extra men and to pay them at the
union scale for rehearsals and concerts. They were en-
gaged for only 3 or 4 rehearsals per concert, while the
project men rehearsed much more frequently. After the
first year, this method was found unsatisfactory and the

Government Support

211

society decided to employ the 12 men on a regular six-
month salary basis. As a special concession from the
union, the society was allowed to pay these men the same
wages and to ask the same hours as those in force on the
project.

In Buffalo, the concerts sponsored partly by the so-
ciety are priced at from 40 cents to $1.25. The society
retains 60 per cent of the ticket receipts, the federal gov-
ernment 40 per cent. The closest and most friendly co-
operation has existed between the project and the so-
ciety, as is exemplified by the assistance which the proj-
ect has been able to render the society in its dealings
with various labor unions. The Buffalo Orchestra seems
to have a fair chance of eventually negotiating the shift
to complete private sponsorship, 1

Not all adventures in joint sponsorship have been as
successful as Buffalo. In Hartford, after a period of joint
sponsorship, co-operation was discontinued by the local
organization. The federal unit was abandoned and the
sponsoring association undertook to do a limited series of
concerts without governmental aid. During the 1937-38
season, 4 regular concerts were presented, as against the
previous 8 under joint sponsorship, though at a materi-
ally reduced total cost. Conflicting personalities, exces-
sive governmental red tape and regulations which seem
to have been greatly modified in later joint ventures
and general lack of community sympathy with all phases
of the Works Progress Administration seem to have been
responsible for the failure of the joint undertaking. The

1 Since the reorganization of ail WPA tmjsk activities in Septenv
her, 1939, the orchestra has made the shift to private sjxmsorship.

212

America's Symphony Orchestras

Hartford Symphony Orchestra is now being maintained
by the Connecticut Symphony Society and an attempt
is being made to organize its service on a regional basis
covering the entire state.

Partial Sponsorship by Cities and Local Political Units

In some cases sponsorship is provided by the city gov-
ernment or other local political units rather than by a
private organization. For example, Springfield, Massa-
chusetts, provides rehearsal space and other facilities
amounting to about $1,800. The City of Bridgeport,
Connecticut, contributes about $2,000 in the form of re-
duction in auditorium rental and in facilities for sum-
mer concerts. In many communities it would be impos-
sible for the project to rent suitable auditoriums because
of their limited funds for that purpose. Joint sponsor-
ship, in the form of adequate auditorium facilities, has
been an invaluable assistance in several cases. The Min-
nesota Federal Symphony Orchestra receives from the
University of Minnesota, the Minneapolis Board of Edu-
cation, and the St. Paul Board of Education the equiva-
lent of about $5,000 in rent, light, and heat.

Sponsorship of iTidimdual Concerts

Another important form of joint sponsorship is a guar-
antee of individual concerts by an organization. This
form usually applies to out-of-town concerts of Federal
Music Project orchestras and covers the cost of trans-
portation, subsistence, and the payment of extra non-

Government Support 213

project personnel In addition to the guarantee of ex-
penses the orchestra usually receives a percentage of the
ticket receipts 40 or 50 per cent. The local organiza-
tion bears the cost of promotion. It is noteworthy that
the groups sponsoring these concerts are of a great va-
riety and include the Kiwanis and Rotary Clubs, Parent-
Teachers' Associations, American Legion Posts, and vari-
ous fraternal organizations-to whom the sponsorship of
symphony concerts is a new departure as well as schools
and colleges such as Bennington, The University of Chi-
cago, Dartmouth, Ohio State University, Temple Uni-
versity.

Services Provided

In many cases the Federal Music Project orchestras
provide as varied services as private symphony orchestras
and they sometimes go even further. The 28 orchestras
that were in operation during 1938 gave a total of 2,096
concerts during the year, the average number for each
orchestra being 75. About a quarter of these were regu-
lar symphony concerts, a third were concerts given in
schools, about a tenth, summer concerts, and the rest di-
vided among out-of-town engagements, opera accom-
paniments, popular and other concerts, as shown in
Table XIL The number of concerts varied widely, from
22 a year in Jacksonville, Florida, to 155 for the Okla-
homa Federal Symphony Orchestra. Some of the better
known orchestras, like the New York Federal and Civic
orchestxasTgave a moderate number of concerts 58 dur-
ing the year but limited them to a great extent to regn-

214 America's Symphony Orchestras

lar adult symphony concerts. The Los Angeles Federal
Orchestra Number One gave 61, and the Number Two
Orchestra, 87 concerts; the Northern California Federal
Symphony Orchestra of San Francisco and Oakland gave
52, the Grand Rapids unit, 70, and the Wisconsin, 76.

TABLE XII. NUMBER AND KINDS OF CONCERTS OF 28
FEDERAL Music PROJECT SYMPHONY ORCHESTRAS:
1938

Average

Total Number Per Cent

Kind of Concert Concerts of Concerts Total

Regular 559 20 26.6

Children's 41 2 2.0

School 698 25 33.2

Out-of-town 182 7 8.7

Opera Accompaniment ..170 6 8.1

Popular 77 3 3.7

Summer 214 7 10.2

Other 155 5 7.5

Total Concerts 2,096 75 100.0

Specially Prepared

Broadcasts 255 9

Total Services 2,351 84

If the 255 specially prepared radio broadcasts are in-
cluded, the total number of services of the federal sym-
phony orchestras is increased to 2,351, and the average
per orchestra to 84. In addition, 91 of the regular con-
certs were broadcast.

The federal orchestras' most important deviation from
the practice of private symphony orchestras is the large
proportion of concerts for children given in the public

Government Support 215

schools. This is possible because the federal orchestras
are not dependent upon box-office receipts. The concerts
given on tour are especially important in view of the fact
that they reach many small communities which could
not possibly afford to bring in one of the privately sup-
ported orchestras. Most of the federal symphonies travel
within a small radius, though a few cover a wide area.
The Oklahoma orchestra, for example, gives programs in
20 communities within the state.

There has been very little variation in the types of
services offered since the project orchestras were organ-
ized, except that the proportion of regular concerts has
declined slightly.

The average attendance of 700 to 750 at symphony
concerts during the history of the Federal Music Project
has been considerably affected by the large audiences
drawn by the outstanding orchestras. Where the caliber
of the orchestra is high and the programs tend toward
the established classical repertoire, audiences are largest.
The best Federal Music Project orchestras have audi-
ences comparable to those of the best secondary orches-
tras. For the smaller units audiences range from 300 to
500 in most instances. In San Francisco, concerts in the
Municipal Auditorium, with a token admission price of
10 cents, have drawn as many as 7,000 persons. Audi-
ences for the opera performances accompanied by the
Commonwealth Orchestra in Boston run as high as 2,500.
Detroit, Denver, and Oklahoma Federal orchestras fre-
quently have audiences of over 1,000. Audiences for
summer concerts are usually much larger than those of
regular concerts, and the out-of-door concerts especially

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Government Support 217

often draw several thousand. Summer audiences in Chi-
cago run to 5,000, and in Newark, 10,000. For summer
concerts of the Wisconsin Federal Orchestra, sponsored
by the Milwaukee Park Board and engaging outstanding
soloists, the Federal Music Project has claimed audiences
of 50,000.

Attention has been called frequently to the large num-
ber of American compositions performed by the federal
orchestras. A compilation in February, 1939, showed
that over 5,000 American works had been played since
the inception of the project. Although only a compara-
tively few of these may have been worth-while additions
to permanent orchestra repertoire, the opportunity has
been given to many native composers to hear their own
works and to learn from their actual performance. While
the orchestras vary considerably in the extent to which
they present native works, taken as a whole slightly more
than one composition in every seven is by an American
composer. Nevertheless, the established classics remain
the foundation of most programs and average more than
two-thirds of the compositions played. All in all, audi-
ences have been larger and steadier for the more con-
ventional programs, but a few orchestras such as the Los
Angeles Federal Symphony Number One, and the Grand
Rapids Federal Symphony Orchestra, which play one
American composition in every four, have also had rela-
tively good audiences. The size of the audience, of
course, has depended not only upon the programs but
upon the quality of the orchestra.

The Federal Music Project has no money for soloists
or assisting artists. When soloists appear on federal sym-

218 America's Symphony Orchestras

phony programs, they either donate their services or are
paid by a sponsor. About 70 per cent of the regular con-
certs, and about half of all symphony concerts, present
soloists. Only about a fifth of the concerts given in
schools do so. Most of the artists appearing with these
orchestras are relatively young and unknown and give
their services gratis in return for which, of course, they
gain the experience and advertising value of a public
performance. With a few of the larger orchestras, no-
tably in New York, some of the well-known artists have
also appeared without pay. Usually the popular and ex-
pensive box-office artists are engaged by sponsoring or-
ganizations.

Budgets and Income

While detailed financial data are not available for all
of the 28 federal orchestras which were in operation
during 1938, information for 20 of them indicates that
the average annual fifty-two-week budget was about
$84,000, and the total cost of the 20 orchestras was about
$1,686,000. Personnel costs represented 92 per cent of
these amounts, and administration 4.4 per cent, as shown
in Table XIV. The rates of pay are on a weekly basis,
regardless of the number of concerts. A wide range in
the cost of these orchestras, therefore, resulted from dif-
ference in size. Budgets varied from a little over $40,000
to about $135,000. The average cost per concert in 1938
was $1,127, slightly below that of the privately sup-
ported secondary orchestras in Group IV. The cost per
concert varied widely with the number given per year.

Government Support 219

Some of the larger orchestras, which limit themselves
primarily to a moderate number of well-rehearsed regu-
lar symphony concerts, have a per-concert cost of some-
thing over $2,ooo-about that of i or 2 of the Group III
major symphony orchestras. In communities where only
a few concerts can be given, the cost per concert is high
even for a relatively small orchestra $3,000 in the case
of one orchestra. Where a large number and variety of
concerts, including school and out-of-town concerts, are
given, the cost per concert may be as low as $700, or
even $500, for a reasonably large orchestra.

TABLE XIV. AVERAGE BUDGET OF 20 FEDERAL Music
PROJECT ORCHESTRAS: 1938

Expense

PerCent

Total Average Total
Personnel (Including

Conductors) .. $1,551,832 $77,590 92.0

Conductors 3?55o *

Players 74,040

Hall Rental *5>35o 768 .9

Advertising ... 19,629 987 1.2

Music Purchase and

Rental 1 1,609 5^ -7

Administration 73*3&> 3>668 4-4

Miscellaneous 11 I 4 I 3 I 7 2 -8

Total $1,685,917 $84,295 100.0

a For 1 8 orchestras only.

b Principally equipment, travel, postage, etc.

For players who are on the Federal Music Project
payroll, "security" wages vary relatively little, from

220 America's Symphony Orchestras

$19.25 to $23.50 per week. The nonrelief players whom
the project may have had to employ to complete the
unit, or who may be engaged by sponsor organizations,
are usually paid at higher rates. If the compensation of
federal orchestra symphony players is reduced to a per-
concert basis, it is usually comparable to that received
by the members of many secondary orchestras who are
paid by concert and rehearsal. The annual wage for fed-
eral symphony musicians in 1938 ranged from about
$1,000 to $1,400. Compensation for conductors on the
Federal Music Project payroll ranged from about $30 to
$62.50 per week, or $1,560 to $3,250 annually. Where
sponsoring organizations exist, they may provide addi-
tional compensation for conductors.

The cost of maintaining the Federal Music Project
symphony orchestras is met by federal appropriation.
Additional sums received by the orchestras from con-
cert receipts amount to about 5.7 per cent of the fed-
eral appropriation and are credited to the United States
Treasury.

Re-employment of Musicians

To a large extent the ranks of the Federal Music Proj-
ect symphony orchestras are made up of two classes of
players older men whom depression, technological de-
velopment, and advancing age have thrown out of regu-
lar employment, and the younger musicians who have
not yet had opportunity for professional experience. For
the younger group, the federal orchestras have served as
a valuable training ground. Evidence of this is found in

Government Support 221

the fact that 266 members of the 28 symphonies in op-
eration in 1938 have been re-employed by private organ-
izations; 48 of these now hold positions in major sym-
phony orchestras, 6 in secondary orchestras, 32 in sta-
tion and network radio orchestras, and 160 in various
other fields.

It is not within the province of this study to evaluate
the Federal Music Project, since the project as a whole
is primarily a relief agency and even in its symphonic
activities largely retains this aspect. Neither is it possible
to appraise the artistic accomplishments of all of the sym-
phonic units. It is probably safe to say that a few of the
orchestras located in centers where a large supply of
competent musicians is available maintain a repertoire
and standard of performance comparable to those of the
best secondary orchestras, or even some of the younger
major orchestras. In some cities these concerts are taken
seriously by the newspaper critics who have shown a
great deal of interest in their development.

Certain definite contributions of the Federal Music
Project to the development of symphonic music, how-
ever, are undeniable. The school concerts, on a scale
which would have been impossible for other orchestras,
have brought an interest in good music to thousands of
children and through them to many adults. It is reason-
able to expect that this may bear fruit in the future in
the form of a greater appreciation and support of sym-
phonic music. Concerts in out-of-the-way places, espe-
cially smaller communities, have brought actual orches-
tras to many who otherwise would have had knowledge
of symphonic music only through the radio or records.

222

America's Symphony Orchestras

In the larger centers, especially, the project's low prices
have placed symphonic concerts within the reach of
many who could not afford the regular concerts of estab-
lished orchestras. To some extent the project symphonic
units have recruited new audiences for the older orches-
tras. By breaking down the barriers of social exclusive-
ness and artistic snobbery, they have awakened the in-
terest of large groups of the public which have been
indifferent to symphony concerts hitherto. *Where joint
sponsorship of private organizations has been practiced
on what amounts to a season basis, and where the co-
operation between the government and the community
has been intelligent and forward looking, the Federal
Music Project has undoubtedly aided in bringing into
being symphony orchestras which may even be able to
survive after the project is discontinued. Viewed realisti-
cally, however, it is probable that only a few of them
could be carried over on a permanent, privately financed
basis.

Since September i, 1939, the program of the Federal
Music Project has been reorganized under the provisions
of a new WPA appropriations act whereby projects
must now be sponsored locally with the sponsors con-
tributing a part of the cost. It has been estimated by the
WPA authorities that sufficient community support had
been forthcoming to continue the projects at about 90
per cent of their former level. All of the projects are set
up on a state-wide basis, usually with one principal spon-
sor, although in some instances cosponsors assist with the
development of projects within individual communities.
The principal sponsors that have come forward thus far

Government Support 223

are public agencies, such as state boards of education,
state relief administrations, state universities, departments
of education, and city governments. Sponsors' contribu-
tions may consist of cash, or equivalents, in supervision,
materials, facilities, and quarters. Since these are still re-
lief projects, the planning is on a temporary basis.

A number of proposals have been made for continuing
the work of the Federal Music Project in some perma-
nent form. Some of these, such as the Pepper-Coffee
Bill, have been criticized on the ground that they would
continue the relief aspects of the music and other art
projects and would in effect establish a pension system
of those who, with or without proper qualifications,
were employed as artists and musicians by the federal
government. Other proposals, such as a plan offered by
Dr. Walter Damrosch, seek to establish a federal depart-
ment of fine arts through which the government can
contribute to the support of worthy artistic projects
divorced from relief considerations. The possibility of
greater reliance upon government, whether municipal or
federal, for the support of symphony orchestras is in-
dissociable from the "whole question of sources of non-
operating income and is considered more fully in a later
chapter.

INCREASING THE OPERATING INCOME

SYMPHOISTY orchestras are part of the cultural resources
of the community, as are schools and colleges, museums
and art galleries. Their services, therefore, must be
shaped toward the requirements of the community. Nev-
ertheless, they are not absolved, any more than are these
other public institutions, from the obligation of being
run in a businesslike manner and from an effort to ob-
tain as much of their income as possible from the sale of
their services to those who use them, thereby reducing
to a minimum the financial burden which must be car-
ried by others.

The ability to meet a large proportion of costs from
operating income is not only the greatest assurance of
financial stability and continued existence, but also one
of the soundest criteria of the extent to which a sym-
phony orchestra is providing services wanted by the
public and is therefore deserving of additional support.
The inevitable dependence of all orchestras upon some
degree of deficit financing has often placed the emphasis
of managements and supporting organizations upon non-
operating income and has overshadowed the possibility

224

Increasing Operating Income 225

of building up earned income through more thorough
merchandising of orchestra services. Merchandising is a
term which has been used increasingly in business during
the past several decades and implies the adaptation of a
product or service to the needs and desires of the poten-
tial market through careful research and analysis, the
setting up of adequate facilities for bringing it to the
consumer, and the development and execution of a pro-
motional program which will present the product to the
public in as impelling a manner as possible. Though the
use of the term has usually been limited to trade, the
activities involved must necessarily be practiced by any
enterprise which depends to some extent upon public
patronage, whether operated for profit or not.

The Market for Symphony Concerts

Unfortunately there are few data available upon
which to base satisfactory estimates of the number of
people attending symphony concerts. It is known that
in 1937-38 the major symphony orchestras had about
2,750,000 paid admissions during their regular seasons,
and it is estimated, on the basis of a fairly representative
sample, that the many secondary symphony orchestras
probably had a combined audience of between 1,500,000
to 2,000,000 persons. The records of the Federal Music
Project show that from its inception in October, 1936,
to August i 1939, approximately 12,500,000 attended
the concerts of its symphonic units, or about 5,000,000
a year. While the total extent of summer audience is any-
body's guess, the figure may be as high as 2,000,000 for

226 America's Symphony Orchestras

a single year. A broadcast of the New York Philhar-
monic-Symphony Orchestra is estimated to reach as
many as 10,000,000 listeners.

In spite of these large figures, it must be borne in mind
that the number of individuals attending symphony con-
certs is a much smaller total. For example, the large pro-
portion of total admissions to major orchestra concerts
represented by season subscribers probably reduces the
total number of individuals attending them to less than
half a million. The size of the radio and summer audi-
ences suggests the existence of a large potential market
for symphony conceits, which is not yet being exploited.
A greater knowledge of the extent and characteristics of
this potentkl market for symphony conceits would be
of inestimable value to symphony orchestras in planning
the types of services to be offered and the conditions un-
der which they can be made attractive to as many people
as possible.

Although it has been beyond the scope of this study
to engage in the extensive consumer research regarding
the characteristics of the potential audience, limited sur-
veys of actual audiences suggest some interesting conclu-
sions as to why people attend symphony concerts. Even
these must be considered as purely experimental in that
their results apply mainly to die communities studied and
are merely indicative of the type of information that
more comprehensive surveys might yield. Surveys were
made by means of questionnaires distributed to audiences
at concerts. In Los Angeles, 869 questionnaires were re-
turned, and in Grand Rapids, 1,009. A similar survey
was made in Harrisburg, Pennsylvania, and, although the

Increasing Operating Income 227

results generally confirmed those secured in the other
cities, the sample was too small for statistical treatment. 1
In Grand Rapids, 64 per cent of the questionnaires were
returned by subscribers, and 36 per cent by nonsub-
scribers; in Los Angeles, 59 per cent by subscribers, and
41 per cent by nonsubscribers.

The symphony audience, as revealed by the Grand
Rapids and Los Angeles surveys, is a comparatively
young one. The median age of concert goers in Grand
Rapids was twenty-seven years, and thirty-three years in
Los Angeles. Subscribers for the comparatively expen-
sive Los Angeles regular series were considerably older
than those buying single admissions, with a median age
of thirty-eight years, as compared to twenty-nine years
for nonsubscribers. The lower median age of nonsub-
scribers suggests that many younger members of the
community cannot afford the price of a season subscrip-
tion and therefore are limited to the purchase of single
tickets. The generally lower median age of the Grand
Rapids audience, and the very slight difference between
subscribers and nonsubscribers, may be explained partly
by the low cost of a series ticket $7 for 7 concerts and
by the fact that 1,000 season tickets are distributed
through the Board of Education to students at $i for the
season. Women comprised 70 per cent of those answer-
ing questionnaires in Grand Rapids, and 74 per cent in
Los Angeles. Virtually all of the audience in both cities
had attended high school, while 49 per cent of the Grand
Rapids concert goers, and 72 per cent of the Los Angeles

1 See Appendix C for the questionnaire used in the surveys. Be-
cause of limited funds, only the simplest tabulations have been made.

228 America's Symphony Orchestras

audience had attended college. Ten per cent of those
answering in Grand Rapids had pursued postgraduate
studies, and 27 per cent in Los Angeles.

Students represented the largest group in the Grand
Rapids audience 2 1 per cent. Other important occupa-
tional groups answering the questionnaire were house-
wives, 14 per cent; clerical workers, 12 per cent; teach-
ers, 10 per cent; semiprofessional workers, 8 per cent;
professional people, 5 per cent; salesmen, 7 per cent; and
semi- and unskilled workers, 4 per cent. There was very
little difference in the occupations of subscribers and
nonsubscribers. In Los Angeles the occupational group
having the highest representation was housewives, with
24 per cent. Students ranked second with 19 per cent,
and teachers third with 15 per cent. Other important
groups were semiprofessional workers, 1 1 per cent; cleri-
cal workers, 7 per cent; and professional people and
salesmen, 3 per cent each. Persons who had retired also
represented 3 per cent of those answering the question-
naire. Approximately 90 per cent of the audience were
native-born Americans in Los Angeles, and 96 per cent
in Grand Rapids, while in both cities 60 per cent were
of American parentage. No particular national group
was outstanding among the parents of these concert au-
diences, beyond the natural racial distribution of the
community.

The great majority of these audiences have had some
education in music, for only 12 per cent reported that
they had had none. Seventy-four per cent of those an-
swering questionnaires in both cities had had instrumental
instruction, principally piano. In Grand Rapids, 44 per

Increasing Operating Income 229

cent, and in Los Angeles, 57 per cent had taken courses
in music appreciation, while 28 per cent in Grand
Rapids, and 38 per cent in Los Angeles had studied har-
mony. It is somewhat surprising to find that 47 per cent
of the audience in Grand Rapids had attended concerts
before the age of eighteen, and 33 per cent in Los
Angeles.

Factors Interesting Audiences in Symphonic Music

While many factors undoubtedly have combined in
interesting these audiences in symphonic music, the in-
fluence of which they are most conscious is repeated at-
tendance at conceits. In Grand Rapids, 38 per cent men-
tioned this factor, and in Los Angeles, 3 1 per cent. The
great significance of this lies in the fact that these peo-
ple realize that their interest and pleasure in symphony
concerts have developed with increasing familiarity and
knowledge. In other words, symphonic music grows
upon the listener with repeated exposure. Aside from
concerts themselves, broadcasting has been the most im-
portant force in building interest in symphonic music
among the audiences surveyed. Of those returning ques-
tionnaires in Grand Rapids, 3 1 per cent mentioned radio
as a means through which they became interested, while
22 per cent did so in Los Angeles. Radio has been some-
what more important in influencing nonsubscribers than
subscribers. This is true of both cities. In Grand Rapids,
36 per cent of the nonsubscribers credited broadcasting,
as compared to 28 per cent of the subscribers; in Los
Angeles, 27 per cent of the nonsubscribers, and 18 per

230 America's Symphony Orchestras

cent of the subscribers. The study of an instrument has
served to interest a considerable proportion of these au-
diences 17 per cent in Grand Rapids, and 16 per cent
in Los Angeles while listening to symphony records
ranked next and was mentioned by 1 2 per cent in Grand
Rapids and Los Angeles. A rather larger percentage of
nonsubscribers than subscribers in Los Angeles attributed
their interest in symphonic music either to recordings or
the playing of an instrument.

Although 47 per cent of those returning question-
naires in Grand Rapids said that they had attended chil-
dren's conceits before the age of eighteen, only 3 per
cent indicated that they had become interested in sym-
phony music in this way. In Los Angeles, 3 3 per cent had
attended children's concerts, and 4 per cent considered
them an important influence. At first glance these figures
might cast a doubt on the value of children's concerts.
However, several features serve to explain these appar-
ent discrepancies. Relatively few children's concerts are
given during a season and children seldom have the op-
portunity for repeated attendance. Furthermore, there is
usually a lapse of years between attendance at them and
at the regular concert series. It is not surprising, there-
fore, that their influence is completely overshadowed in
the memory of those answering questionnaires by the
repeated effects of radio, phonograph, and concert at-
tendance as adults. In view of these considerations, the
3 and 4 per cent who attributed their interest in sym-
phonic music directly to children's concerts are a hope-
ful sign of what may be accomplished with more inten-
sive and consistent development of this field.

Increasing Operating Income 231

The seeming Inconsistency between 2.5 per cent in
both cities, who attributed their interest in symphony
concerts to music appreciation courses and the large
number having received such instruction, is also partly
explainable by the lapse of time between these courses
and attendance at concerts. Nevertheless, it is reasonable
to suppose that both children's concerts and music ap-
preciation courses have laid the foundation for listening
to radio and phonograph records which later culminated
in an active interest in symphony concerts.

Musical Preferences

The differences in the average age and education of
the audiences, as well as in programming and the cost of
attending concerts, between Grand Rapids and Los An-
geles are reflected in the musical preferences expressed
by the audiences. Only 59 per cent of those answering
the questionnaire in Grand Rapids preferred serious mu-
sic, while 35 per cent favored light compositions, and 4
per cent indicated a partiality for popular music. In Los
Angeles, 95 per cent showed a preference for serious
music. The same factors are the cause for 53 per cent
of the Grand Rapids audience preferring symphony or-
chestras to other forms of musical rendition, as compared
with 77 per cent in Los Angeles. On the whole, prefer-
ences in Grand Rapids were more widely scattered, with
1 1 per cent favoring vocal solos, 9 per cent opera, 9 per
cent instrumental solos, and 6 per cent light opera. In
Los Angeles, instrumental solos were the only form,

232 America's Symphony Orchestras

other than symphonic music, for which a marked prefer-
ence was indicated 9 per cent. It is interesting to note
that 84 per cent of nonsubscribers in Los Angeles pre-
ferred symphonic music, as against 68 per cent of the
subscribers. This leads to speculation as to the extent to
which subscribers may be impelled by social motives
rather than by preference for symphonic music.

Approximately three-quarters of those answering the
questionnaire in both cities expressed the desire to have
concerts by the orchestra alone, as well as performances
featuring guest artists included in the regular series. In
Grand Rapids, 20 per cent preferred concerts with solo-
ists, and only 3 per cent concerts of the orchestra alone,
as compared to 10 per cent and 8 per cent, respectively,
in Los Angeles. Nonsubscribers in Los Angeles showed a
greater preference for guest artists than did subscribers
15 per cent as against 7 per cent. That guest artists are
more essential to the success of concerts in Grand Rapids
than in Los Angeles is further indicated by the fact that
audiences in the former city desired an average of 8 out
of 10 concerts with soloists while Los Angeles audiences
expressed a preference for but 6 out of 10. Vocal solo-
ists were the most popular form of guest artist in Grand
Rapids and were preferred by 36 per cent, followed by
pianists with 28 per cent, and violinists with 21 per cent.
Pianists were preferred by 59 per cent of the audience in
Los Angeles, violinists by 1 8 per cent, and vocal soloists
by 1 4 per cent.

Notwithstanding the differences in general prefer-
ences, Grand Rapids and Los Angeles audiences were

Increasing Operating Income 233

remarkably similar in their choices of favorite composers
and symphonic compositions. In both cities, Beethoven,
Tschaikowsky, and Brahms were among the four favor-
ite composers. Wagner ranked third in Grand Rapids,
while Sibelius ranked fourth in Los Angeles. Schubert,
Mozart, and Franck also ranked among the first ten com-
posers, in order of preference, in the two cities. Ravel,
Rimsky-Korsakoff, and Johann Strauss were among the
ten favorite composers in Grand Rapids, while Sibelius,
Bach, and Richard Strauss were included among those in
Los Angeles.

TABLE XV. TEN RANKING COMPOSERS PREFERRED BY
GRAND RAPIDS AND Los ANGELES AUDIENCES

LOS ANGELES GRAND RAPIDS

Percentage Percentage

of Total of Total

Composer Mentions Rank Mentions

Beethoven 20.7 i 12.2

Brahms 13.1 2 6.7

Tschaikowsky ... 11.4 3 11.9

Sibelius 6.2 4

Mozart 5.9 5 3.3

Franck 5.0 6 2.6

Wagner 4.9 7 10.9

Bach 3.9 8

Schubert 3.6 9 4.0

Richard Strauss . . 2.9 10

Ravel .. .- 3- 6

Johann Strauss . . 3.5

Rimsky-Korsakoff. .. -. 3-3

Debussy 2 *6

*Tie for eighth rank.

I

4

2

8'
10
3

6

7
8*

234 Americas Symphony Orchestras

Beethoven's Fifth, Seventh, and Ninth symphonies
were among the ten highest ranking compositions in
both cities, while the Third also was included in Los
Angeles. The Fifth ranked first in Grand Rapids, and
second in Los Angeles. Tschaikowsky's Fifth Symphony
ranked second in Grand Rapids, and third in Los An-
geles. All four Brahms symphonies were included among
the ten ranking compositions in Los Angeles, and only
the First in Grand Rapids. It is most significant that all
of the compositions included among the ten ranking fa-
vorites in both cities are part of the standard symphonic
repertoire.

TABLE XVI. TEN RANKING COMPOSITIONS PREFERRED
BY GRAND RAPIDS AND Los ANGELES AUDIENCES

LOS ANGELES GRAND RAPIDS

Percentage Percentage

of Total of Total

Composition Mentions Rank Mentions Rank

FranckD Minor 3.8 i 1.6 y a

Beethoven Fifth 3.6 2 3.0 i

Tschaikowsky Fifth 2.8 3 2.9 2 b

Brahms First 2.7) ^ 1.7 <5

Beethoven Seventh 2.7} 1.8 5

Beethoven Ninth (Choral) 2.7) 1.4 9

Beethoven Third (Eroica) 2.2 ] 5

Brahms Fourth 2.2

Tschaikowsky Sixth (Pathetique) 2.1 6 2.1 4

Schubert Eighth (Unfinished) ..1.6 7 2.8 3

Tschaikowsky Fourth 1.5 8 1.3 10

Brahms Second 1.3 9

Brahms Third 1.2 10

Ravel Bolero . . 2.9 2 b

Rimsky-Korsakoff Scheherazade. .. .. 1.6 7*

Dvorak-Fifth (New World) .. 1.5 8

*Tie for seventh rank.
*>Tie for second rank.

Increasing Operating Income 235

Questioning as to the most convenient time of the
week for symphony concerts indicated a general prefer-
ence for those currently used by the orchestras. Friday
evening, when the Grand Rapids concerts are now
presented, was indicated as being convenient for 74
per cent of the audience, while 1 3 per cent mentioned
Thursday evening and Saturday afternoon, and 9 per
cent Sunday afternoon. The three times currently in use
in Los Angeles for symphony concerts were among
those stated as being most convenient: Thursday eve-
ning> 39 P er ce *rt; Saturday evening, 25 per cent; and
Friday afternoon, 24 per cent. In addition, 25 per cent
mentioned Friday night as a satisfactory time for con-
certs, and 1 5 per cent Sunday afternoon. It w^ould seem,
therefore, that audiences generally have accommodated
their plans for the week to the customary symphony
concert dates and probably prefer to have these remain
unchanged.

An attempt w r as made also to determine why nonsub-
scribers did not purchase tickets for the whole season.
While slightly more than one-quarter of those answering
the questionnaire in both cities found the time of week
inconvenient for attendance throughout the entire series,
the influence of the high cost of the full subscription,
and the tendency to shop around for the most interesting
programs and soloists, were especially prominent in Los
Angeles. Forty-five per cent of nonsubscribers gave the
high cost of a season ticket as their reason for not buying
it, while 43 per cent stated that they attended concerts
only when certain compositions or guest artists were
featured. In Grand Rapids, only 33 per cent of the non-

236 Americas Symphony Orchestras

subscribers replied that the price of a season ticket had
been prohibitive. The small number of concerts per sea-
son 7 and the consequent limited opportunity to hear
a symphony orchestra, undoubtedly serves to explain the
fact that 17 per cent of the Grand Rapids nonsubscribers
attended only when features or artists of particular ap-
peal were presented. Nonsubscribers attended an average
of 5 concerts a season in Grand Rapids, and 6 concerts
in Los Angeles. The existence of a market in both cities,
which may bear further investigation, was indicated by
the fact that 26 per cent of the nonsubscribers in Grand
Rapids, and 30 per cent in Los Angeles had previously
been season-ticket holders.

Listening to Symphony Broadcasts

In view of the influence of radio in awakening interest
in symphonic music, the tastes and habits of concert au-
diences regarding symphony broadcasts are important.
The nation-wide broadcasts of the New York Philhar-
monic-Symphony Orchestra, the Ford Sunday Evening
Hour, and the NBC Symphony concerts are listened to
by a large proportion of concert-goers in both cities.
The Philharmonic-Symphony Sunday afternoon con-
certs ranked first in Los Angeles and were listened to
regularly by 84 per cent of those returning question-
naires, and second in Grand Rapids with 63 per cent.
The NBC Symphony ranked second in Los Angeles
with 47 per cent, and third in Grand Rapids with 33
per cent. The Ford Sunday Evening Hour came first
with 69 per cent in Grand Rapids, and third in Los

Increasing Operating Income 237

Angeles with 41 per cent. In Los Angeles, however, the
Standard Symphony Hour, which for many years has
been sponsored by the Standard Oil Company of Cali-
fornia, tied for second place with the NBC Symphony.

As might be expected, concert audiences derive more
enjoyment from attendance at concerts than from radio
listening. Sixty-one per cent in Grand Rapids, and 69
per cent in Los Angeles, reported that they enjoyed
symphonic music over the radio less than in the concert
hall. Only 10 per cent in Grand Rapids, and 7 per cent
in Los Angeles, found radio listening more satisfactory,
while 29 per cent and 24 per cent, respectively, showed
no preference. More significant, therefore, is the report
from 43 per cent of the Grand Rapids audience, and 32
per cent in Los Angeles, that they have been attending
concerts more often since they have been listening to
symphonic music over the radio than formerly. Only 4
per cent in Grand Rapids, and 7 per cent in Los Angeles,
stated that they have been attending conceits less fre-
quently.

Forty per cent of the Grand Rapids, and 61 per cent
of the Los Angeles, audiences own recordings of sym-
phonic music, but 8z per cent and 66 per cent, respec-
tively, of these audiences reported that they preferred
the radio to records.

In spite of their limitations, these data suggest a few
conclusions of merchandising significance. The testi-
mony of audiences as to the effects of radio, the phono-
graph, and music education, both in interesting them in
symphonic music and getting them to attend concerts,
suggests that there is an expanding potential audience as

238 America's Symphony Orchestras

these forces themselves continue to reach more people.
There are strong reasons to believe that a wide market
exists among young people, above the student age, which
has still to be completely exploited. For example, the
relatively younger nonsubscribers in Los Angeles profess
a greater interest in symphony music than do subscribers,
while many of them indicate that they cannot afford
present series tickets. If special series could be developed
at a cost within their means, and particular appeal be
made to this group, a significant addition might be made
to operating income. Even if this is not possible, Los
Angeles evidence raises the question whether a more vig-
orous promotion of single ticket sales among this group
would not be profitable. From a merchandising point of
view, the chief value of these surveys is the indication
they give of the wealth of practical information that
might be obtained through more comprehensive studies
of audiences and the general public.

Adapting Concerts to Public Demand

A discussion of the question of adapting concerts to
the public demand involves a consideration of two prob-
lems: the extent to which present concerts meet the pub-
lic taste as to kind and manner of presentation, and the
possibility of developing new and more attractive forms
of concerts. The latter possibility is rather remote, for
most of the necessary forms of service seem to have been
established in many cities. However, the potential mar-
ket which seems to exist among younger people above
high-school age suggests that managements might give

Increasing Operating Inccme 239

serious study to the desirability of designing concerts to
reach this particular group.

There is no doubt that in many cities existing concert
series can be brought more in accordance with public
taste, both as to content and the conditions under which
they are presented. Not infrequently there exists the pos-
sibility of increasing the attractiveness of regular series
concerts without impairing artistic standards. In some in-
stances, programs have been lacking in variety and bal-
ance, and, in others, concerts have been too long. It
would therefore be profitable for managements, and
even more for conductors, to re-examine carefully the
psychology of their communities with regard to sym-
phonic music and to reappraise their own efforts in meet-
ing the conditions imposed by this psychology.

As stated previously, it is probable that "pop" con-
certs can be made successful only if they are kept dis-
tinctive in character from the regular series. The increas-
ing demand for better music on the part of audiences has
caused programs of many of these concerts to become
similar to those of the regular series. Because of this situ-
ation, completely distinctive series, such as the Boston
"Pops" which do not pretend to off er regular symphonic
fare, seem to have the greatest chance of being profit-
able. These, however, can be given only where adequate
facilities exist.

Children's concerts have been demonstrated to be most
successful where they have been closely co-ordinated
with the public school system. In view of the fact that
these concerts are a public service, and admissions, where
charged, cannot begin to cover cost, attention might well

240 America's Symphony Orchestras

be given to the possibility of securing direct appropria-
tions from the community for this purpose. Moreover,
the value of children's concerts in building future audi-
ences for the orchestra must constantly be kept in mind.
The effectiveness of these concerts might be greatly en-
hanced if they were planned more carefully and espe-
cially if more attention were given to the dramatic values
involved in their presentation. The value of children's
concerts might further be increased if they were supple-
mented in more cities by youth concerts which would
bridge the gap between them and the adult programs.

Summer concerts afford probably the greatest oppor-
tunity of extending the audience and increasing operat-
ing income, and merit the most careful study by all man-
agements. There is no magic formula for adapting the
various types of symphony concerts to the widest pos-
sible audience and, in the final analysis, success in this
field depends to a large extent upon the imagination and
ability of the conductors and managers and their sensi-
tiveness to the psychology of the public. Conductors too
seldom realize the role which they can play in the suc-
cessful merchandising of symphony concerts without in
the least lowering their artistic standards.

The growing discrimination of the American concert
audience makes the maintenance of an orchestra of high
quality a merchandising consideration of primary impor-
tance. Since more people are hearing the best orchestras
over the radio and learning more about music in general,
they are demanding excellence, not only in program-
ming, but in performance. Any city which undertakes
to maintain an orchestra must do so with the realization

Increasing Operating Income 241

that anything short of the utmost which the community
can afford will receive but small public support. Indeed,
it is quite possible that important groups of concert-
goers today place undue value upon virtuoso perform-
ance. Consequently, it may be desirable to give greater
promotional emphasis to the enjoyment of the music
itself.

Closely allied with the question of quality is that of
size of orchestra. As pointed out in Chapter Four, the
repertoire demanded by American audiences, together
with hall requirements, make it necessary to maintain a
full-sized symphony orchestra. Smaller orchestras, no
matter how excellent, have seldom been able to capture
the imagination of audiences and to secure any large
measure of support.

Many improvements are desirable in the conditions
under which concerts are presented to the public. The
effectiveness of many orchestras could be greatly en-
hanced if they had auditoriums better suited to the pres-
entation of symphony concerts. Though this situation
probably cannot be remedied to any material degree for
a long time to come, and inadequate facilities will con-
tinue to impede the full development of orchestra serv-
ices, it is particularly important that communities con-
templating new auditoriums, either for the exclusive use
of the symphony orchestra, or for more general pur-
poses, design them with a view to all the various kinds of
concerts which might have to be presented there.

The question as to whether symphony concerts could
be better adapted to the real demand, if they were pre-
sented more frequently or in larger auditoriums at lower

242 America's Symphony Orchestras

prices, is often raised. The cost per concert would make
it unprofitable in most cases to present more concerts in
present auditoriums, at lower prices. The large audiences
that attend many of the low-priced summer concerts,
and the somewhat higher earning ratios of some of the
summer series, lend weight to the question regarding
larger auditoriums and lower prices, at least for some of
the larger cities. However, acoustical problems make it
difficult to present symphony concerts in halls larger
than 3,500 or 4,000 capacity. Assuming, however, that
audiences of this size could be attracted at lower prices
and with well-planned promotion, budgetary problems
would not disappear. With prices ranging from 50 cents
to $2.50 the customary range at the present time in sev-
eral cities and a large proportion of the seats available at
the lower prices, operating income for regular seasons
might, on the whole, be somewhat improved in the larger
houses if completely sold out. But, nevertheless, sizable
deficits would usually remain. If prices were reduced
below these levels, larger auditoriums might bring sym-
phonic music within the reach of a much wider audi-
ence, but the proceeds per concert might be increased
little, if at all.

Regardless of speculation as to what might be done
with larger auditoriums, the fact remains that most or-
chestras will have to get along with their present audi-
toriums for some time to come, and the immediate prob-
lem is that of selling present unsold capacity. In most
cases resort to lower prices, in the hope of filling the
present auditoriums, would not make material additions
to operating income, and, if not skillfully applied, might

Increasing Operating Income 243

even reduce It. These considerations raise the question
of developing other pricing policies which might make
it easier for more people to buy tickets.

The discrepancy noted earlier in the chapter between
the relatively small number of individuals who are
reached through the various concerts of the regular sea-
son, and the huge radio and summer audiences, focuses
attention upon what seems to be a pricing problem. Very
few season tickets sell for less than $10 or $15, while the
minimum in Boston is $35. Since people seldom attend
alone, this means an expenditure of from $zo to $30 at
the minimum for any one family, and at least $70 in Bos-
ton. The purchase of a season's subscription, therefore,
is an important budget consideration and one of the large
lump-sum outlays. It is often difficult to save that much
in advance. Today, when one can buy electric irons,
vacuum cleaners, furniture, clothing, sets of books, and
even sets of golf clubs on the installment or budget pay-
ment plan, symphony orchestras are forced to merchan-
dise their product selling at about the same price as
many of these items on a pay-in-advance basis. This is
severe competition to meet when the close margin of the
average family budget is considered.

Budget payment plans have been experimented with
to a very limited extent and their advisability is far from
established. A number of difficulties stand in the way of
adapting the deferred payment method to symphony
tickets. Price adjustments to take care of financing, col-
lection, credit losses, and the volume of clerical detail
would be difficult if not impossible, as would the exclu-
sion of people from concerts becapse of unpaid install-

244 America's Symphony Orchestras

ments. Moreover, unused tickets for part of the sea-
son would have doubtful value and would be difficult
to market. Nevertheless, the possibility of developing
budget plans, and of promoting them through Parent-
Teacher Associations, women's clubs, and other similar
groups, merits some investigation.

Channels for Selling Symphony Tickets

Although the channels through which symphony con-
cert tickets are distributed to the public are vastly more
simple than those used in the marketing of most goods
and services, important problems exist in this phase of
orchestra merchandising. The principal channels are as
follows: the box office, and the sustaining organization
or women's committees where these conduct ticket-
selling campaigns which perform a retail function; the
local concert managements in various cities visited on
tour and, to a small extent, organizations such as the
Civic Concert Service, Inc., and the Community Concert
Service, which serve in the general manner of whole-
salers of symphony concerts.

The significance of the orchestra box office as the
point of sale has been overlooked too frequently by man-
agements in developing their promotional program. The
feeling that symphony orchestras are not a business in
the usual sense has often led to the mistaken conclusion
that the box office is merely a public convenience rather
than an important selling force. As a result, it has fre-
quently been run in a routine and unimaginative fashion

Increasing Operating Income 245

rather than with an eye to increasing ticket sales and
building public good will Seemingly small considera-
tions, such as a pleasant manner in answering inquiries,
and filling orders over the telephone, which have been
found so important in retailing, at times have been over-
looked. In some instances, the box-office personnel has
been imbued with an indifferent and snobbish attitude
and the conviction that nothing needs to be done to
stimulate ticket sales. The deadening effect of this spirit
is illustrated by an incident occurring during the finan-
cial campaign of a major orchestra. Upon being solicited
for a contribution, a well-known executive replied that
he could do so only if he refrained from purchasing two
additional season tickets which he had planned to buy.
The solicitor told the box-office man of the situation and
asked him to follow up the matter. At the end of the
week the box-office man had not even sent the executive
an order blank. When asked the reason, he replied that
the executive's wife always bought the orchestra tickets
and that, after all, her daughter had just been married
and she therefore did not need two tickets. Individuals
engaged in assisting orchestras to raise funds report that
this is neither an isolated nor an extreme example of box-
office defeatism. Where this spirit persists, more enter-
prising box-office operation is highly necessary. The box
office can also be an instrument in building up a mail-
ing list.

A great deal of symphony ticket selling is mail-order
business, so that the maintenance of a comprehensive*
up-to-date mailing list is indispensable to efficiency. Since

246 America's Symphony Orchestras

this question has been discussed earlier in the volume, 2
elaboration is not necessary at this point.

Question is sometimes raised as to the value of sustain-
ing organizations and women's committees as agencies
for the sale of tickets. In a few instances difficulties have
been experienced where these groups have been used for
both ticket-selling and maintenance fund drives during
the same season. Some managements have found it diffi-
cult to maintain the efficiency of volunteer organizations
of this type, over a period of time, which have started
with a burst of enthusiasm and after a few years have
lost much of their sales potency. However, the effective-
ness of some of these organizations could be considerably
increased if the managements devoted more time and at-
tention to the directing of their activities. The appoint-
ment of directors of women's activities by a few major
orchestras is an effort to place this work on a more en-
during basis, though this step has been too recent to pass
judgment as to its efficacy. In spite of the fact that
women's committees have been a most important force
in building up concert attendance in several instances
and volunteer help should be welcomed when it is good,
it seems desirable to have the responsibility for ticket
retailing if possible in experienced professional hands.

Practice varies as to the use of local managements to
promote and underwrite tour engagements. Orchestras
themselves sometimes assume all of the promotion and
financial risks of out-of-town concerts, either for the en-
tire itinerary or for a few of the more important cities.
In other cases they work through local concert manage-

2 See Chapter Six.

Increasing Operating Income 247

ments which hire the hall, take care of promotion and
other details, and which guarantee the orchestra a speci-
fied return for the concert. Where this procedure is
followed, the promotion of ticket sales is in the hands
of the local management. Since the local management
usually has limited promotional facilities, it is highly de-
sirable that the closest co-operation be worked out be-
tween it and the orchestra management in this field if
the largest possible audience is to be secured.

The changing character of the concert business, the
rise of a host of competing forms of entertainment, and
the general uncertainty of all branches of the amusement
business during the depression have caused the local con-
cert manager to decline in relative importance. This
trend was given further impetus by the formation of the
Civic Concert Service, Inc., and the Community Con-
cert Service, for the purpose of marketing artists' con-
certs on a large scale. The principle upon which both of
these services work is to organize different communities
by means of a field force and to sell rickets to their series
at comparatively low prices. For example, the Commu-
nity Concert Service oifers 5 concerts for $5.00, while
a subsidiary, Co-operative Conceits, operating in smller
towns, market a series of 3 concerts for $3.00. At the
present rime the two services combined promote con-
certs in between 500 and 600 towns.

Since symphony orchestras are occasionally booked
by these services, and since they have assumed an im-
portant position in the marketing of artists' concerts as a
whole, the question arises as to their potential value in
further developing the tour business of an orchestra. In

248 America's Symphony Orchestras

several instances these services have enabled orchestras
to book engagements as part of a conceit series in com-
munities which they otherwise might not have been able
to enter. Since symphony orchestras are expensive to
take on tour and a high charge must be made for them,
the number of cities in which they are a profitable form
of business is limited. Furthermore, whatever engage-
ments may be secured through these services must be
fitted into the regular and touring schedules of the indi-
vidual orchestras. This is made difficult by the fact that
the demand for any one orchestra in concert series is
likely to be sporadic and widely scattered. While a few
orchestras, therefore, may derive some added income
through these sources, it appears that on the whole this
type of booking cannot be counted upon to add greatly
to total receipts.

Publicity and Sales Promotion

It is impossible to discuss current symphony concert
series practices or the problems of marketing channels
without consideration of various aspects of sales promo-
tion, so that this question has been treated to a consider-
able measure earlier in this chapter and in Chapter Six as
well. However, attention should be called to several mat-
ters at this point. Examination of current publicity and
public relations practices among symphony orchestras
leads to the conclusion that in many cases too small a
portion of the budget has been allocated for this purpose
and that these activities have been confined all too much
to routine. Too great reliance also has been placed in

Increasing Operating Income 249

part-time personnel in a number of cities. The fact that
orchestras are nonprofit organizations has sometimes led
to the attitude that it is unnecessary or improper to spend
the money required by a comprehensive and effective
promotional program. In view of the severity of compe-
tition among leisure-time activities, it is most desirable
that managements and boards especially reappraise their
promotional program and facilities in the light of present
requirements. It is also highly essential that the devel-
opment and execution of the promotional program be
placed in skilled, professional hands and not be included
among the many duties which devolve upon the manager.

Undoubtedly the greatest need in publicity and public
relations is emphasis on the genuine pleasure to be de-
rived from listening to good music, even by the musi-
cally uneducated. Developing this viewpoint to the full-
est measure will require a radically new attitude on the
part of many concerned with symphonic music* Intellec-
tual snobbery of some of the critics, managements, and
boards must be overcome, as well as the more pervasive
and insidious snobbery of those parts of the audience for
whom the learned discussion of musical technicalities
which they seldom understand acts as a stimulus to the
ego. These are the groups which have spread and per-
petuated the mistaken belief that symphony concerts can
be enjoyed only by the musically "high-brows/*

While the techniques of advertising, publicity, and
public relations are properly the concern of qualified ex-
perts, their practice must necessarily be co-ordinated
with the larger public policy of the orchestra* Indeed,

250 America's Symphony Orchestras

all of the activities of the orchestra from programming
to the conduct of the maintenance fund campaignmust
be shaped in keeping with a continuous and long-range
program for making the orchestra a community institu-
tion and building up public support, and it is the devel-
opment of this program and the co-ordination of its vari-
ous elements which is the basic sales promotion function
of management.

Sales policies with the most lasting cumulative effects
are those which are carried on consistently and continu-
ously and which feature the enduring value of sym-
phonic music and of the orchestra. They are aimed at
making people really want to buy tickets, not once, but
repeatedly, rather than at forcing them upon as many
people as possible whether or not they want them. High-
pressure devices, such as ticket-selling campaigns and the
use of spectacular guest artists, should be applied spar-
ingly and with greatest care if their effectiveness in meet-
ing special situations or emergencies is to be maintained
and if false standards are not to be built up among the
public which may later cause the orchestra difficulty.
The pressure to sell as many tickets as possible frequently
rtsults in their purchase by people merely to please some-
one else, or as an act of charity, and therefore may result
in a resistant or antagonistic attitude toward the orches-
tra, or at best a feeling of indifference. Viewed in any
light this is not a sound basis for building up a perma-
nent patronage. On the other hand, where an orchestra
moves to a very much larger hall, a ticket-selling cam-
paign may be a most useful means of securing a large ini-

Increasing Operating Income 251

tial audience which more continuing forms of promotion
must then hold for succeeding seasons. Spectacular guest
artists similarly may be most helpful in special situations.
For example, if an orchestra is just starting its career,
popular soloists establish the orchestra's acceptance by
the public by assisting materially in attracting sufficiently
large audiences. However, continuous use of such box-
office attractions yields decreasing returns from the point
of view of audience building. Furthermore, promotion
of soloists often overshadows the orchestra itself and
may actually prevent building up an appreciation of
purely symphonic music and the orchestra which alone
will ensure audiences without the stimulation of "box-
office" artists.

The beneficial effects of applying a comprehensive
merchandising program are illustrated in Boston. An
early start in a less competitive field, the traditional in-
terest of New England in all phases of culture, the finan-
cial stability which made experimentation and long-
range planning possible, gave the Boston Symphony Or-
chestra many advantages not enjoyed by other orches-
tras. The sound principles and foresight of Colonel Hig-
ginson, and the intelligence of the management, which
seem to have anticipated much of the best current mer-
chandising practice in business, made the most of these
opportunities and contributed materially to the orches-
tra's success. From the beginning, attention of the public
has been focused upon the orchestra and the music.
Colonel Higginson believed that it was the function of
the orchestra to provide various kinds of musical enjoy-

252 America's Symphony Orchestras

ment and to serve all tastes and classes in the community.
As a result the "Pops" were established in the orchestra's
fourth year, and the policy of diversification has been
further extended by the institution of the Esplanade
Concerts, Berkshire Festival, Youth Concerts, and Berk-
shire Academy.

A clear-cut line of distinction has been maintained be-
tween the kinds of services offered, and each has been
merchandised on its own merits. For example, the Bos-
ton "Pops" have always been promoted and advertised
as "Pops" rather than as an activity of the Boston Sym-
phony Orchestra. Furthermore, this distinction has been
heightened by rigidly separating the various concert se-
ries, with the exception of the Youth Concerts, as to the
time of year when they are presented. The regular sea-
son is followed by the "Pops," which in turn are suc-
ceeded by the Esplanade Concerts. After a lapse of a
short period, the Berkshire Festival is given in early Au-
gust. Each new activity has been carefully departmental-
ized from the start so that it might stand on its own feet
during the experimental period, and in case it was unsuc-
cessful it would not impair the reputation and morale of
the general undertaking.

Although these various types of service maintain their
own identity and serve different artistic and social pur-
poses, the highest quality requisite for each type of con-
cert is maintained. The development of as varied and
comprehensive a program as this has been facilitated by
the fact that nonunion operation permits greater flexibil-
ity than is possible under the union agreement.

Increasing Operating Income 253

Potential Income from Radio and Recordings

There is a great deal of speculation as to the extent to
which orchestras can hope to increase their operating in-
come from radio broadcasting and recording phonograph
records. For many of the major symphony orchestras
these sources of income have been comparatively unim-
portant and probably will continue to be so. s The com-
mercial sponsorship of symphony orchestras has declined
materially since the early days of radio. Advertisers feel,
rightly or wrongly, that symphony broadcasts reach a
class market and that symphony programs are seldom
adapted to the inclusion of a strong selling message on
the program. Union regulations governing commercial
broadcasts impose high costs which make symphony or-
chestras expensive to advertising sponsors. Unless the at-
titude of advertisers changes materially, because of an
increasing demand by the general public for symphony
programs over the radio, future income from this source
will continue to be limited. Symphony orchestra broad-
casts on a sustaining basis must be looked upon for the
present principally as a means of building up prestige
rather than as a source of income. Competition between
orchestras to get on the air, even free of charge, and the
fact that the principal needs of the national networks for

3 The Philharmonic-Symphony Orchestra, a Columbia Broadcast-
ing System feature for nine years, is the only symphony orchestra
to have derived an appreciable amount of income with any regular-
ity from radio. The Ford Sunday Evening Hoar employs 75 De-
troit Symphony players, a fact which contributes materially to the
orchestra's ability to operate on as short a season as zi weeks, AH
other orchestra radio engagements have been infrnpeat and sporadic.

254 America's Symphony Orchestras

symphony music are well taken care of, are responsible
for this situation.

Except in a few instances the recording of phonograph
records has also been a minor source of income. In those
cases where it probably has reached important propor-
tions and contributed materially to reducing deficits, or-
chestras have naturally been reluctant to disclose any of
the financial details. What the possibilities are and how
the increased business may be distributed among the or-
chestras is impossible to predict. With the recent increas-
ing competition in the high class record field, it is reason-
able to suppose that a larger number of symphony or-
chestras will derive additional income from this service.

Special Problems of Secondary Orchestras

Much of what has been said of the problems of ma-
jor symphony orchestras applies to secondary orchestras
as well. The principles governing programming, use
of guest artists, hall design, publicity and promotion,
ticket-selling campaigns, and other details of orchestra
organization and operation are fundamentally the same
for all groups of orchestras. Indeed, whenever a second-
ary orchestra improves in quality and extends its sched-
ulesespecially when the point is reached where the men
are engaged on a weekly basis its problems become
practically identical with those of the younger major
orchestras.

However, secondary orchestras face certain problems
arising out of their own peculiar situations. Their per-
sonnel, when professional, is usually paid on a concert-

Increasing Operating Income 255

and-rehearsal basis and often is at least partly amateur.
The limitations in the ability of local players, and of op-
portunities for rehearsal, place definite restrictions upon
the quality of performance which these orchestras can
attain and the repertoire which they can attempt.

The central problem of secondary orchestras is that of
attaining an artistic standard which will command the
interest and support of the community. This, however,
does not mean that efforts which fall short of the virtu-
osity of the major orchestras are undeserving of the full-
est support. The primary purpose of a symphony or-
chestra is to provide the opportunity for people to be-
come familiar with the world's great music, and the ex-
tent to which these local orchestras can fulfill this func-
tion with competence is the principal justification for
their existence. In certain respects local symphony or-
chestras can render services which cannot be duplicated
by either visiting orchestras or the radio, and it is largely
on this basis that their support must be promoted. A vir-
tuoso orchestra can be imported for only a limited num-
ber of concerts, but only as the local orchestra is devel-
oped can the amount of music available be increased.
Most communities, if they want eight, ten, or twelve
concerts a year can have them only by maintaining their
own orchestra.

The local symphony orchestra is the focal point for
music in its community. It provides at least some income
for professional musicians and brings or keeps in the
community competent teachers. It alone is able to pre-
sent an extensive program of children's concerts. It con-
stitutes a nucleus for chamber music groups. Sometimes

256 America's Symphony Orchestras

the symphony orchestra provides the impetus for the
formation of a chorus. Thus, over a period of time, it
enriches the musical life and widens the scope of the mu-
sical experience available in the community. There are
also certain practical business advantages to the mainte-
nance of a local symphony orchestra. The very fact that
symphony concerts are held gives rise to a demand for a
multitude of goods and services which must be supplied
mainly by local businesses. The existence of a compe-
tent orchestra serves to advertise the home city in its
surrounding trade area. An intangible, but probably one
of the most important services of a secondary orchestra
to its own locality, is its contribution to the realization
that good music can be a factor of everyday life instead
of a far-off impersonal thing which can be enjoyed only
by the more well-to-do inhabitants of large metropolitan
centers. Where the orchestra is partly amateur, the sight
of friends and neighbors playing with obvious joy and
satisfaction the music of the masters does much to break
down the "typical American sheet-iron shirt-front to-
ward good music that has done much to retard its prog-

ress." 4

While the various considerations just mentioned are
more important factors in bringing people to the con-
certs of secondary orchestra than they are for major
orchestras, the fact remains that audiences will attend re-
peatedly only if the orchestra succeeds in attaining an
acceptable level of performance. The only hope of de-
veloping operating income, therefore, lies in continued

4 J. Spencer Bell, Chairman of the Board of the Charlotte (N. C.)
Symphony Orchestra, Bricks Without Straw.

Increasing Operating Income 257

efforts to improve the orchestra. The particular point at
which improvement is most needed varies from orchestra
to orchestra. Often further progress is possible only if a
more competent conductor can be secured. Sometimes
the principal need is for instruction and coaching of
players. In other instances, the importation of a few ex-
perienced musicians may assist materially in raising the
level of the ensemble. The need is not always for first
players, but often for experienced, steady players who
give the orchestra confidence and help to carry along
the less experienced members. Occasionally funds may
be necessary to provide added rehearsals.

For many secondary orchestras, the possibility of
progress into an important community institution, sup-
ported largely by its own earned income as compared to
the danger of continued mediocrity or even complete
failure, hinges upon sufficient working capital to see the
orchestra through the pioneering period.

The proper management and promotion of secondary
orchestras, irrespective of their stage of development, are
usually hampered by the extent to which they must rely
on amateurs and volunteers. In many cases one of the
greatest needs is for at least one paid permanent em-
ployee so that ticket selling, publicity, and general pro-
motion can be carried on continuously. Occasional ex-
pert advice to the managements and sustaining organiza-
tions of these orchestras would go a long way toward
helping them solve their problems, develop their service,
and improve their financial stability. Many of the man-
agers and conductors of secondary orchestras are keenly
aware of the need for expert assistance and for discos-

258 America's Symphony Orchestras

sion of their mutual problems. Indeed, suggestions have
been made frequently that the formation of an organiza-
tion through which these opportunities might be afforded
would be extremely valuable.

The main question is what the future development
of these secondary orchestras will be. There is a good
chance that some of the secondary orchestras that al-
ready are largely on a professional basis principally
those in Group IV will progress to the status of present
Group III major orchestras. Others which may not go
that far will still probably improve considerably in qual-
ity and range of service until they become community
assets of great value. The smaller secondary orchestras
similarly may expect to progress to higher artistic levels
and to expand their service, where the planning is sound
and the program of the orchestra carefully adapted to
its abilities and to the requirements of the community.
Many of the secondary orchestras will benefit from the
rise of able young American conductors. The smaller
ones, especially, will be improved as the extension of
music education in the schools increases the number and
proficiency of amateurs. All of them, likewise, will have
a better chance to achieve a stable basis in view of the
continually growing interest in symphonic music. At-
tention already has been called to the need that many of
these secondary orchestras have for working capital to
tide them over the pioneering years. For those particu-
larly that are contemplating a change from a concert-
and-rehearsal basis to weekly salaries and are hoping to
approximate major status, it is essential that the board
and management realize in advance the full extent of

Increasing Operating Income 259

the undertaking and have some assurance of enough
financial support to see the organization through the
transition period during which it is building up its own
standard of performance and the audience upon which it
must later depend.

The suggestion has sometimes been made that commu-
nities might have better orchestras and be more ade-
quately served if a few of them would pool resources
and personnel for the formation of regional orchestras.
Where the orchestra is almost completely amateur and
nonunion, as is the Vermont State Symphony Orchestra,
such a plan may contribute a great deal to the various
communities. However, the application of the regional
principle of organization to orchestras which are largely
or completely professional is likely to be unsuccessful.
The principal deterrents are local community pride and
jealousy, the ambition of conductors and sponsors in one
or another city, the very practical problem of getting
the orchestra together for rehearsals, the fear of musi-
cians in the various localities of being displaced, and the
problem of union jurisdiction. The impracticability of
this suggestion, however, should not obscure the logic of
orchestras, wherever possible, developing spheres of serv-
ice in neighboring cities and towns.

TEN

MEETING THE OPERATING DEFICIT

THERE are evidences that a large potential audience for
symphonic music, which is not now being reached, exists
in every city that has a symphony orchestra, and that
this audience is increasing. It therefore follows that op-
erating income can be increased. Nevertheless, it seems
unlikely that in the predictable future symphony or-
chestras can be made entirely self-supporting.

Orchestras in Group I have so nearly sold out their
capacities for the various types of concerts offered dur-
ing their regular season that very little additional income
could be secured from this source, even if present halls
were completely sold out. If Group II and III major or-
chestras by intelligent merchandising sold out a large
part of their present unsold capacities, they might in-
crease their operating income considerably. In one or
two instances deficits might be reduced in this fashion
by as much as half, although in most cases they could
probably be cut no more than an eighth to a quar-
ter. It should be borne in mind, however, that if op-
erating income is increased to a material extent, the
present relatively low personnel costs, particularly ia

260

Meeting Operating Deficit 261

Group III, are almost certain to rise, in which case def-
icits might remain about where they are. Though sum-
mer seasons occasionally meet their costs they cannot
be expected to show appreciable surpluses which could
be applied to the deficits of the regular season even if
both were under the same management. Some orchestras
might make their popular and other series more profit-
able than they are now, but these will always be minor
items. Tours, broadcasting, and recording may at times
contribute substantially to the income of a few orches-
tras, but this business for the most part is shifting and
uncertain. The stability of symphony orchestras, there-
fore, will remain to a considerable extent dependent
upon various kinds of deficit financing.

Endo r wment

A thorough study of endowment experience would
involve a detailed year-to-year analysis of the course of
endowment values, the nature of the real estate holdings,
if any, the composition of the investment portfolio, and
the yield of the endowment as a whole as well as of the
various types of investment. Unfortunately this was not
feasible within the time and resources avaikble for this
survey. However, it has been possible to assemble a few
basic facts regarding current endowments. Endowments
are an important source of income for 6 of the major
orchestras and a minor source for 4 more. The present
value of the more important endowments ranges from
approximately half a million to two or three million dol-
lars. The yield on die endowments of major orchestras

262 Americas Symphony Orchestras

during the 1937-38 season was between 3.7 per cent and
4.7 per cent.

Most of these endowments are invested in a diversified
list of securities, although two also include some real
estate holdings and mortgages. Two omit government
bonds. The Cleveland Orchestra endowment is set up as
a trust, with investments limited to securities legal for
trust funds in the state of Ohio. Three orchestras Bos-
ton, Chicago, and Clevelandin addition to their other
endowment own their own auditoriums. The principal
purpose of Symphony Hall in Boston, and Severance
Hall in Cleveland, is to provide auditorium and office
space for the orchestra. Orchestra Hall in Chicago is
housed in an office building from which additional rental
income is obtained.

There is some variation as to the origin of these en-
dowments and the conditions under which they have
been set up. For example, the endowment of the New
York Philharmonic-Symphony Society was built up by
a few large gifts of which only the interest may be used
for current expenses, the principal being reserved for
such time as the orchestra may construct its own hall
The Philadelphia Orchestra's endowment is the result of
two campaigns, the first in 1916-17 for $750,000, and the
second in 1919-20 for $1,000,000. Only the income can
be used. The funds for the Boston and Chicago halls were
raised largely by public subscription, while Severance
Hall was made possible by a gift of $ i ,000,000 by John L.
Severance in 1928 and was built on ground donated by
Western Reserve University. On the death of Mrs. Sev-
erance the gift was increased to $2,500,000. The original

Meeting Operating Deficit 263

1 1, 000,000 had been offered on the condition that the
city would raise a $2,000,000 endowment for the orches-
tra, and as a result of this offer a $2,500,000 fund was
established. In Cincinnati Mr, and Airs. Charles Phelps
Taft offered to contribute $1,000,000 to endow the In-
stitute^of Fine Arts, which owns and operates the Cin-
cinnati Symphony Orchestra, on condition that $2,500,-
ooo additional be raised through public subscription.

A unique situation exists in Rochester where the or-
chestra is indirectly the beneficiary of an endowment.
The Rochester Civic Alusic Association, which supports
the orchestra, receives about $65,000 annually from the
University of Rochester for the maintenance of the Gvic
and Philharmonic Orchestras. While part of this sum is
in the nature of payment for services renderedsuch as
services of the orchestra used in connection with the
Eastman School's American Composer Concerts and
other university occasions nevertheless, a considerable
portion must be viewed as a direct contribution to the
support of the orchestras from the University's own
endowment.

There has been considerable discussion as to the de-
sirability and practicability of building up endowments
for symphony orchestras. While all managers would like
to have substantial endowments, experience has revealed
that this form of financing presents a number of prob-
lems. Income from this source is fluctuating, even in the
most carefully managed endowments, and at times has
shrunk as much as 50 per cent, Endowment funds prac-
tically never provide sufficient income to meet the entire
deficit, but usually must be supplemented by mainte-

264 America's Symphony Orchestras

nance funds. However, the existence of a fund of sizable
proportions often gives the public a false impression of
the resources of the orchestra available for current ex-
penses and increases the problem of raising from the
community that portion of the deficit not covered by
endowment income. In periods of business stringency,
not only does income from endowment fall off, but the
public is also less able to contribute to the current opera-
tion of the orchestra. In a few instances this has raised
the question of using part of the principal, where its use
is unrestricted, to tide over the period of emergency.
Experience seems to indicate that this practice has merely
postponed the evil day. Furthermore, where an orchestra
has had a very large endowment, there seems to have
been a tendency to rely too heavily upon this source of
income and to make little effort to build up operating
receipts by adapting the services to the varied require-
ments of the public.

Where large endowments exist, special care must be
taken to avoid the impression that the orchestra exists
for the exclusive few, which can only be done by a pro-
gram of community service accompanied by intelligent
public relations. In addition, wherever endowment in-
come must be supplemented by maintenance fund cam-
paigns, it is desirable that the public be taken continu-
ously into confidence so that it will understand thor-
oughly the reasons why additional funds are required.

In spite of these problems, a substantial endowment is
probably one of the most satisfactory assurances of finan-
cial stability. It permits long-range planning and the de-

Meeting Operating Deficit 265

velopment of a varied program of community service,
which make possible the building of an audience and
hence of operating income. However, these opportuni-
ties can be realized only if boards and managements are
thoroughly aware of their responsibilities and willing to
assume them.

Endowment in the form of a hall presents a different
problem. An attractive hall with adequate facilities is one
of the greatest assets which an orchestra may possess,
and indirectly may contribute materially to operating in-
come. The principal problem which presents itself is that
of hall obsolescence, which in these times of rapidly
improving building design and engineering may saddle
the orchestra with an out-of-date building after several
decades.

The future of endowment financing is uncertain. The
decline in the size and number of large fortunes, and the
increased burden of taxation placed upon them, have re-
duced the funds available for these purposes. However,
the tremendous growth in appreciation of good music and
the further contribution which music can make to cul-
tural development in this country commend symphony
orchestras, even more than in the past, as deserving of
the gifts of wealthy patrons. Although the ultimate values
fostered by art galleries and institutions of learning are
no less things of the spirit than is symphonic music, they
have made a more tangible appeal for the attention of
those in a position to give large sums of money. Many of
our orchestras, if given the stability that an appropriate
endowment would ensure, would have a basis upon

266 America's Symphony Orchestras

which they could essay a program of expanded commu-
nity service which otherwise they would not dare to
undertake.

Maintenance Funds

Maintenance funds are and probably will continue to
be the most important source of nonoperating income.
For Group I major orchestras in 1937-38 maintenance
funds represented 6.5 per cent of the total income as
compared to 4.9 per cent from endowment income. For
Group II orchestras they produced 23.9 per cent of total
income as compared with 19.8 per cent from endow-
ment. With the exception of the Rochester Civic and
Philharmonic Orchestras, which receive funds indirectly
from the endowment income of the University of Roch-
ester, no Group III major orchestra has any endowment
of importance, and this group has been obliged to de-
pend upon maintenance funds for nearly half of its total
income. Even six of the major orchestras that have en-
dowments find maintenance funds their principal source
of nonoperating income. The amounts that must be
raised every year in this fashion usually range from about
$30,000 to approximately $150,000, and in 1937-38 aver-
aged $42,000 for Group I major orchestras, $71,000 for
Group II orchestras, and $80,000 for Group III. Sec-
ondary orchestras are almost entirely dependent upon
maintenance funds for their nonoperating income.

While in a few cities maintenance funds are collected
from a small group of i to 200 people, for most orches-
tras the number of contributors ranges from 1,200 to

Meeting Operating Deficit 267

2,500, with the exception of Rochester which has man-
aged to build up a list of nearly 8,000. While it has not
been possible to assemble detailed records on the propor-
tion of the maintenance funds represented by gifts of
different sizes, it is generally reported among managers
that large gifts are becoming fewer and that greater re-
liance must be placed upon an increasing number of
small donations. The 2 Group I orchestras that provided
information on this point differ so greatly in number of
subscribers that averages would mean nothing. For i of
these, more than half the number of the contributions
were over $100; for the other, with a larger number of
subscribers, less than a fourth were over this figure. For
Groups II and III * nearly three-quarters of all the dona-
tions were $25 or under, while little more than 10 per
cent were over $100. In spite of this situation the few
large gifts will account for an important portion of the
total amounts raised. In several cases, gifts over $1,000
have represented a half or three-quarters of the total
maintenance fund,

While the techniques of maintenance fund raising in
the symphony orchestra field are generally similar to
those applied to other nonprofit institutions, it is gener-
ally agreed that the intensive "drive" type of campaign
concentrated in a short period of time with the emphasis
almost entirely on team competitionis not the most de-
sirable means of conducting this work. In spite of the
fact that fund raising among symphony orchestras has
not been very efficiently handled, there seems to be a

die exception of Rochester, where an abo&miaHy large
proportion of those coombetmg represent gifts of $5 and under.

268 America's Symphony Orchestras

growing recognition of the need of permanent ma-
chinery within the orchestra administration for contin-
ued planning and execution of fund raising and for ex-
pert direction, either from within or without the orches-
tra organization. Moreover, managers are of the opinion
that the responsibility for the details of raising money
should not rest with the business management. The prin-
cipal function of a manager is to produce earned income
for his orchestra, and, while he should work with and
help in every way the members of the board, the major
responsibility for raising funds should be on the board
and not on the manager. Some orchestras have been suc-
cessful in conducting their maintenance fund campaigns
with their own staff, though in several instances this has
meant that money raising has been practically the sole
activity of one person. Fund raising is the principal
activity of sustaining organizations and other auxiliary
groups which have been described in detail in Chapter
Five. In other instances, outside experts have been called
upon with good results. The accomplishment of these
experts has varied greatly, partly due to the co-operation
they have received from the management, and partly to
variation in their own knowledge and ability.

It is essential that the entire money-raising effort em-
phaske the value to be derived from enjoyment of sym-
phonic music, the quality and progress of the orchestra
and of its services to the community, rather than plead
on a "charity" basis. For this reason the solicitors should
be carefully trained in the best way of presenting their
story. When properly handled, maintenance fund cam-
paigns can be made to yield valuable by-products in

Meeting Operating Deficit 269

terms of good will and community pride in the orches-
tra, but when inadequately thought out and inexpertly
executed they can be decidedly harmful.

Government Support

Various kinds of government support for symphonic
music have been practiced in the United States and have
been described in detail in Chapter Eight. Managers and
boards of directors, particularly of orchestras that are
finding it extremely difficult to finance their deficits,
would welcome the prospect of government support if
they could be assured that it would not result in political
complications which might impair the artistic standards
and progress of the orchestra. They, however, as well as
a large part of the public, are skeptical as to the possibili-
ties of setting up government machinery for the support
of symphony music that could avoid the dangers of po-
litical favoritism and the inflexibility which government
"red tape" usually imposes.

Conclusions as to the possible role of the federal gov-
ernment in this field cannot well be based upon the ex-
perience of the Federal Music Project. The whole is-
sue was completely confused with the relief aspects of
the Works Progress Administration. In some instances,
where the direction was exceptionally good and where
adequate musical talent was available, the results have
been surprisingly good from an artistic point of view. It
is possible that the defensive position of some of these
projects has given impetus to strenuous efforts to over-
come local prejudice and to gain recognition for tihe

270 Americas Symphony Orchestras

value of the orchestra on a musical as well as on a relief
basis. The contribution of the Federal Music Project to
the development: of interest in music in out-of-the-way
places, to music in the schools, and to growing interest
in American composers on the whole has been very
worth while. jNevertheless, in many places the results
hare been disappointing and have substantiated the fears
of many persons that government regulations often pre-
vent adaptation to local needs and requirements and re-
sult in mediocrityA Proposals for devising machinery
whereby federal aid could be granted to projects spring-
ing from local interest and initiative and grounded in the
community will undoubtedly receive further discussion
and consideration.^ The principal difficulty will be that
of maintaining the pre-eminence of artistic standards and
of establishing criteria for the ^lection of undertakings
to be granted federal assistance. J

Participation of other government units, such as the
coimty and the state in the support of symphony orches-
tras, has been extremely rare. It is probable that only in
a few cases the state would appear to be the logical unit
to provide financial assistance to symphony music. Coun-
ties, likewise, except in cases like that of Los Angeles
where the county is virtually coextensive with the city,
can hardly be expected to be concerned with the main-
tenance of symphony orchestras. Municipalities appear
to be the most logical source of government assistance.
Even here* outright subsidy to orchestras might have un-

* Skr tbe Pr&$o$ed Pl&m for the Establishment of a Federal Bureau
&f m$ Art$ t drawn up by Dr Waiter Damrosch as a basis for study
Appendix C

Meeting Operating Deficit 271

desirable political implications, although the contribu-
tion of the City of Detroit toward the Belle Isle concerts
of the Detroit Symphony Orchestra has raised no prob-
lems of this sort. The most satisfactory form of munici-
pal aid appears to be achieved through the purchase of
concerts by the municipality or its political subdivisions
such as park and school boards. The purchase of sym-
phony concerts by the City of San Francisco and the
purchase of children's concerts by the school boards of
St. Louis and Kansas City have given rise to no criticism
on political or artistic grounds and suggest that a great
deal more might be done by other cities along these lines.

ELEVEN

THE FUTURE OF AMERICA'S SYMPHONY
ORCHESTRAS

IN spite of their recurring financial problems, the record
of America's symphony orchestras is an impressive one.
Their rapid and extensive growth, especially in the last
decade during which more orchestras were formed than
throughout the entire preceding century, is an indica-
tion of the tremendous vitality of^ the symphony orches-
tra movement. Three hundred symphony orchestras, in-
cluding 1 6 major orchestras ranking among the best in
the world, indicate a development which, in quality and
extensiveness, is unexcelled.

Of particular importance has been the increasing
growth of professional and semiprofessional orchestras
in towns and cities away from the principal metropolitan
and cultural centers. These orchestras are an indication
that the appeal of symphonic music is extending into the
length and breadth of the land and that making it and lis-
tening to it are becoming the interest of the rank and file
and not merely the concern of the favored few. Increas-
ingly, it seems, love of music itself and the deep joy of
creating it in company with one's fellows are transcend-

272

Future of Orchestras 273

ing the appeal of mere virtuosity or the thought of social
prestige, often so closely associated with interest in the
fine arts. People are playing together because they derive
satisfaction from doing so, because they wish to improve
their skills. People are listening to symphonic music be-
cause it brings them a message, a varying one to be sure,
but nevertheless one of lasting value. | Otherwise, from
7,000,000 to 10,000,000 persons weekly would not listen
to the symphonic broadcasts presented over the radio
networks. In this development,! the splendid work done
by more than 30,000 high-school and college orchestras
with reasonably full symphonic instrumentation is of
special significance. It is safe to conclude that these stu-
dent orchestras represent between 1,500,000 and 2,000,-
ooo young musicians the raw material out of which new
orchestras and audiences are to be created-x

Barring some great economic or social cataclysm, the
growth of interest in making and listening to symphonic
music is certain to continue in this country, for the
forces which have created it persist in American life.
School music by no means has reached its fullest devel-
opment, and the growth which resulted in 30,000 school
symphony orchestras is certain to produce further in-
creases in numbers and even greater improvement in
quality. To the extent to which professional and even
semiprofessional symphony orchestras ally themselves
with the school system in children's and youth con-
certs, new generations of listeners will be created to a
growing degree. Collegiate interest in symphonic rnusb,
both in appreciation and in its performance, is ataost

274 America's Symphony Orchestras

certain to increase, for colleges have been laggards com-
pared to the public school system.

nRadio broadcasting will continue to bring symphonic
entertainment to large sections of the population and will
be of special importance to those so situated geographi-
cally or so restricted as to income that they cannot at-
tend concerts; in addition to which it will serve to whet
the appetite of radio listeners for the experience of hear-
ing actual concerts/ Of special significance in this respect
was the testimony of Los Angeles and Grand Rapids
symphony concert audiences to the effect that between a
fifth and a third of those responding had first become in-
terested in symphonic music by hearing it over the air,
that about two-thirds of them derived more pleasure
from concert attendance than from radio listening, and
that about two-fifths in Grand Rapids, and one-third in
Los Angeles, had attended concerts more frequently
since listening to symphony music over the radio than
previously. Moreover, technical developments are im-
pending in radio broadcasting which can materially im-
prove the quality of symphonic reception over the air.
If frequency modulation, ultrahigh frequency, and high
fidelity broadcasting are carried to their logical conclu-
sion it may be quite possible to bring almost all of the
important tone values of the orchestra into the home, al-
though the drama and personal appeal of actual concert
attendance still will be missing. Naturally it is impossible
to predict how soon these developments will be applied
generally. However, progress has been sufficiently rapid
in the past few years that it would be extremely unwise
not to accord them the most serious consideration. Were

Future of Orchestras 275

ultrahigh frequency broadcasting to be generally ap-
plied, it is possible that a fundamental modification of
the radio station structure would result, with a material
increase in the number of available stations. With more
stations competing for program material and audiences,
and with the possibility of a greater amount of unspon-
sored time, it is interesting to speculate what might be
the effect on the amount of symphonic music broadcast
tp the public.

/ n-p-lift *

-j JThe great increase in the sale of symphonic phono-
graph records in the past few years is a highly significant
indication of a permanent interest in music of this type,,
for, as in the case of radio listening, it is a sincere desire
to hear symphony music which is the impelling force
rather than social prestige or any similar motive/ How-
ever, in the case of phonograph records, the expenditure
of considerable sums is required to build up a record
library. Just as in the case of radio broadcasting, phono-
graph records may safely be counted upon to whet the
public appetite for actual symphony concerts rather than
to be a competing force, i

Even though the morion picture theater concert or-
chestra of the predepression period will probably remain
a thing of the past, motion pictures themselves may be
of increasing assistance in building a growing and con-
tinuing interest in fine music, symphonies included,
Hollywood, of recent years, has discovered symphonic
and other fine music and, applying it to a limited degree,
has made it pay. There has been some ex^rimctitatkm
in the past with symphonic shorts, a few of which seam
to have attracted favorable audience reaction. There also

276 America's Symphony Orchestras

seems to be a possibility of developing other symphonic
films, both standard and 16 mm., for use in schools and
for showing before music, parent-teacher, and other simi-
lar groups as a further extension of the work in music
appreciation.

All of these forces feed on each other and their effect
is cumulative. They are supplementary rather than com-
petitive and none of them are a substitute for the con-
cert hall itself, providing the concert hall is attractive
and the concert is intelligently designed to capitalize this
new growing interest in symphony entertainment. The
new potential audience for symphony concerts repre-
sented by the skilled players and partially initiated lis-
teners turned out by our public schools and colleges, the
millions of listeners to radio symphony programs, the
thousands who purchase symphonic records and are
building whole libraries of them, and those who may in-
creasingly be stimulated in their interest in fine music by
the motion pictures, is a challenge to present orchestra
managements. It is fertile ground. What fruit it will bear
will depend upon the intelligence and enterprise exer-
cised in its cultivation.

This, however, is the groundwork for the future
maybe a distant future. As such it emphasizes the criti-
cal nature of the current symphony orchestra economic
problem, for, unless orchestras can be placed upon a
sounder basis and provided additional funds for ex-
panded and improved service, the potentialities inherent
in this development of interest in symphonic music can-
not be realized. The fact remains that orchestras have
not been able to meet their costs out of operating income

Future of Orchestras 277

in the past, that the best of them earn less than 90 per
cent, and that a few secure as little as one-third of their
expenses from concert and other operating receipts.

It is obvious that but slight progress, if any, can be
made toward increased financial stability by reducing ex-
penses. Even in those orchestras that have summer sea-
sons, average annual salaries of orchestra players seldom
rise as high as $4,000 and usually center about $2400; a
small sum considering the amount of painstaking study
and the high degree of skill required to attain a position
with a major symphony orchestra. Moreover, the play-
ers 7 opportunities for supplementary income are so re-
stricted that the pressure for the fullest measure of re-
muneration from playing in symphony orchestics is in-
tensified. Unless new and unexpected sources of supple-
mentary income arise, increased rather than decreased
personnel expenses may be expected by many orchestras,
especially the younger major orchestras and those sec-
ondary organizations aspiring to major status. Neither
does curtailment of conductor eirpenses hold forth hope
for greater financial stability, for even a 50 per cent re-
duction in conductors* salaries seldom would reduce the
deficit by more than 5 to 10 per cent. Modification of
the union agreement so that more concerts could be pro-
duced with smaller unit costs per concert does not seem
to be a hopeful source of increased financial stability, al-
though it is a subject worthy of the most careful study
since it is the largest annual rather than the highest per-
concert wage which is most to the players* advantage.
Other costs have been cut to bedrock by decades of
recurring deficits, and, indeed, some costs notably ex-

278 America's Symphony Orchestras

penditures on orchestra promotion have been held too
low.

The only hope, therefore, of materially improving the
economic position of symphony orchestras is to increase
operating income and to build the orchestra firmly into
the life of the community as an integral cultural force.
Real opportunities exist along this line, but boards and,
at rimes, managements have been too concerned with
the financing of deficits to devote proper attention to
the creation of audiences. It is most desirable that a new
spirit permeate many symphony orchestras, that they
break the closed circle of their thinking and view their
potential audience as expanding rather than as having
fixed limits. It would be extremely helpful, as stated sev-
eral rimes previously, were symphony orchestras to de-
velop a "merchandising" point of view to seek to dis-
cover consumer needs and desires, to plan the product,
symphony concerts, in accordance with them, and to de-
velop a promotional program which will impel people to
use the product. This is not inconsistent with the view
that symphony orchestras are invested with a "public
service" aspect, for some of the most effectively mer-
chandised symphony orchestras today render the great-
est measure of public service, and the repeated patronage
of a satisfied public is one of the soundest criteria of
service in the public interest. Moreover, it is easier to
raise maintenance funds to meet deficits from a satisfied
and enthusiastic public so that operating and nonoperat-
ing income are interdependent.

Evidence that the opportunity exists for the more ef-
fective use of present facilities on the part of many

Future of Orchestras 279

orchestras is found In the fact that, for their regular
concert seasons, the eight Group II orchestras fill an
average of only 70 per cent of their hall capacity, while
the younger Group III orchestras fill only 64 per cent.
Increased audiences are more than a matter of pricing,
since there seems to be no correlation between pricing
and unsold capacity. This is true in spite of the obvious
difficulty of the younger members of the community to
raise sufficient funds to buy season rickets, a difficulty
which merits careful study on the part of orchestra man-
agements. Among the devices which can be employed to
improve regular concert series audiences are better sea-
son-ticket promotion, including the most careful atten-
tion to mailing lists and advance information as to the
concert season, more attention to the buyers of single
tickets, avoidance of too great reliance on ticket-selling
campaigns and other artificial stimulants, better and more
consistent publicity, a carefully planned long-run pro-
gram of public relations, more conscious programming
to the public taste down to such matters as program
length and the judicious use of guest artists, and, where
possible, the improvement of hall f acilities so as to make
symphony concerts a pleasant, comfortable social event
as well as a stimulating musical experience. All of these
matters have been discussed in detail in earlier chapters, 1
Further opportunity for improving operating income
exists in a careful diversification of services. Children's
and youth concerts merit the most serious attention of
all orchestras, not so much because of the income which
they produce directly, as because of their value in biiild-

*See Chapters Six and Nine in partknikr.

280 America's Symphony Orchestras

ing future audiences and in enlisting widespread commu-
nity support. "Pop" concerts of the Boston type have
been successful where they have been applied in con-
junction with adequate facilities. Undoubtedly some or-
chestras will benefit materially from touring, but this
source of income will probably continue to be restricted
to a comparatively few organizations. In this respect it
should be extremely worth while for orchestras to con-
sider developing logical areas of service rather than re-
sorting to indiscriminate competition. Radio, likewise, is
an uncertain factor, with worth-while opportunities re-
stricted to a few orchestras. Phonograph recordings
should constitute an important source of income for an
increasing number of orchestras by reason of the grow-
ing competition in the field, but again it cannot be relied
upon generally. Summer seasons can probably be made a
much more important means of improving player income
and a method of stimulating general public interest.

There is little probability, however, that any large
number of orchestras indeed, any will be able to im-
prove their operating revenues to the point where op-
erating receipts equal expenses and deficit financing
becomes unnecessary. Consequently, deficit financing
should be viewed as a necessary feature of future or-
chestra economics. While endowment income would be
a most desirable financial backlog, the probability of
securing large sums is remote. Endowments are becom-
ing increasingly difficult to raise, with the shrinkage in
great fortunes and with rising taxation. This does not
mean, however, that endowments should not be sought,
for symphony orchestras are as worthy of the support

Future of Orchestras 281

of wealthy patrons as are art galleries, educational insti-
tutions, or other more conventional objects of benefac-
tion. On the whole, maintenance funds seem to offer the
best promise of effective deficit financing. Direct gov-
ernment subsidies give rise to the threat of political in-
tervention and the stultifying influence of * 4 red tape."
On the other hand, the purchase of a series of concerts
by the local city government, as in San Francisco, or by
a political subdivision such as a school or paric board,
seems to be a practical and acceptable form of govern-
ment subsidy.

The needs and opportunities raised thus far in this
chapter apply to both major and secondary orchestras.
However, these smaller orchestras possess problems of
their own. One of the most important is the constant
need of improving the quality of their performance and
the range of the repertoire which they can play success-
fully. Another is the need for expert counsel and assist-
ance in the planning and execution of their activities
especially with regard to promotion. Since their manage-
ments are mainly amateur, orchestras of this type are
greatly handicapped in developing a consistent and effi-
cient promotional policy. A great many of the problems
of secondary orchestras boil down to a question of a*d-
quate working capital to provide the groundwork for
future expansion, a need not uncommon among major
orchestras. If funds could be provided to assist these or-
chestras over the initial years of improved service* a most
valuable contribution would have been made to the fur-
ther development of American symphony orchestras.
Whether this type of assistance should come from foon-

282 America's Symphony Orchestras

clarions or from other sources remains to be determined.
Behind any lasting progress in the symphony orches-
tra field there must be a clearly thought out and consist-
ently and continuously applied policy on the part of the
boards and managements charged with the responsibility
of maintaining the symphony orchestras of the country.
This policy must be conceived in terms of meeting the
musical needs and desires of the area to be served by the
orchestra. It must be a realistic policy in that it must be
planned in keeping with the ability of the community
to support it, and must not be predicated upon some im-
possible competitive virtuoso goal. Rather, without sacri-
fice of basic quality, it must have the competent per-
formance of the world's great music as its first objective.
It must emphasize the value of the music first and the or-
chestra second. Much as it cannot completely overlook
the power of personality, it must resort judiciously to
the appeal of the "star'' conductor or guest artistand
to the element of social prestige. The policy which is
adopted must be a long-run one, designed to capitalize
the great opportunities inherent in the growing poten-
tial audience, and it must be applied without vacillation.
Finally, it must be applied with a complete awareness of
the working capital required in its execution and with a
willingness to secure the funds required to establish ex-
panded and improved service wherewith to secure in-
creased community support. If policies of this type are
developed and applied by the boards, managements, and
sustaining organizations of our symphony orchestras,
much of our present opportunities can be translated into
future progress.

Future of Orchestras 283

Although the task will not be an easy one, it should
be possible to attain a measure of development in the fu-
ture which will greatly eclipse the present remarkably
accomplishments of American symphony orchestras. In-
deed, nowhere in the world is the future so promising
for symphonic music and symphony orchestras as in the
United States. Here they are untrammeled by regimenta-
tion or totalitarian dictation, free from the physical and
psychological drains of war, and sustained by a tremen-
dously vital and spontaneous interest of ever growing
numbers of people in performing and listening to sym-
phonic music. The cumulative force of public opinion
created by the thousands of competent young players
being turned out by high schools, colleges, and conserva-
tories each year, by the growing number of amateurs
who are finding a deep and abiding pleasure in playing
the world's great music together, and by the additional
thousands who are becoming acquainted with symphonic
music under unpretentious and inviting conditions each
year through the radio, records, summer concerts, and
similar means, has just begun to make itself felt. 1 Granted
a continuation of national well-being and peace, and the
promotion of symphonic music for its own recreational
and spiritual values, these potentialities can be turned
into one of the most important contributions of this
country to art and culture.?

A

WOMEN'S COAiMITTEE FOR THE CIN-
CINNATI SYMPHONY ORCHESTRA (1939-
40) x

PLAN OF WORK

NAME The Woman's Committee for the Gncinnati Sym-
phony Orchestra.

PURPOSE

1. To create and extend active interest in the welfare of
the Cincinnati Symphony Orchestra.

2. To act as a service and publicity medium for the or-
chestra.

3. To help put the orchestra on a strong financial basis
through die sale of new season subscriptions.

4. To popularize symphony concerts among all classes of
people.

OFFICERS

1. President a new president appointed each year by the
Symphony Board with the advice of the Policies Com-
mittee of the Woman's Committee.

2. Vice-presidents 3 or more appointed e$ch year by
the president with the aid of the Policies Committee,

3. Department Chairmen appointed by the president and

1 Developed by Mrs, Miles Benham, Director of Women's Activi-
ties, 1939-4-

285

286 America's Symphony Orchestras

vice-presidents and Policies Committee to serve not
more than two consecutive years.

Officers upon retirement are eligible to appointment on
various committees. Presidents upon retirement auto-
matically become members of the Policies Committee.

PROFESSIONAL STAFF The services of a director of the
Woman's Symphony Committee is provided by the
Symphony Board, also the services of a secretary.

MEMBERSHIP Every woman who agrees to make a sincere
effort to promote the welfare of the Cincinnati Sym-
phony Orchestra through the sale of new subscriptions
is eligible to membership in the Woman's Committee
for the Cincinnati Symphony Orchestra.

DUES AND FINANCES No membership dues are charged. The
Cincinnati Woman's Committee is strictly a service
and promotional organization. All financial responsi-
bility for its operation and for the Symphony drives
which it conducts are assumed by the Symphony Or-
chestra Board. All money made by the Woman's Com-
mittee is turned directly into the Symphony Orchestra
treasury. All social expenses of the Woman's Committee
are assumed by individual members of the Woman's
Committee. Salaries of director and secretary paid by
the Symphony Orchestra management.

WORK ASSUMED BY THE COMMITTEE

1. Assist in all maintenance drives "when and if any are
necessary."

2. To conduct sale of advertising for special Enquirer
rotogravure edition.

3. Follow up on renewals for season subscriptions each
spring.

4. Conduct sale of new season subscriptions each fall.

Appendix A 287

5. Promote sale of season subscriptions for Young Peo-
ple's Concerts. 5

6. Decorate stage for special concerts.

7. Create and conduct feature publicity and all other
publicity incident to Woman's Committee activities.

8. Assist in any special events scheduled and requested by
the Symphony Orchestra Board.

9. Arrange for the entertainment of guest artists and con-
ductors.

ORGANIZATION

HONORARY PRESIDENT
EXECUTIVE COMMITTEE

President

5 Vice-presidents

POLICIES COMMITTEE Past Presidents

Each vice-president to supervise and assist designated
groups of departments.

Executive Committee members to serve as ex-officio mem-
bers of all departments.

TICKET CAMPAIGN ADVISORY BOARD

To compile list of potential prospects for season subscrip-
tions,

To help enlist new, reliable workers for ticket-seUirig
committees.

To help initiate new and novel methods of selling season
subscriptions.

288 America's Symphony Orchestras

DEPARTMENTS

Group L Under Supervision of First Vice-president

ROTOGRAVURE COMMITTEE To promote the publication of a
special symphony roto section of the Enquirer on Sun-
day, September 17.

General Chairman

Assistant Chairman in Charge of Advertising

Assistant Chairman in Charge of Models

Solicitors at least 35 to be chosen by chairman with the
assistance of the executive committee.

BUSINESS RELATIONS To serve as contact with retail stores
for aU interrelated symphony activities (fashion shows,
displays, poster contest, package inserts, etc.).

To arrange with training directors of stores for sales
course in symphony selling, both for symphony work-
ers and sales people.

To organize sales committees of employees of 10 with
each store for selling season subscriptions.

General Chairman

Assistant Chairman

PUBLIC RELATIONS To serve as a medium for development
of display publicity features, free outdoor advertising
on bill boards, streetcars, taxicabs, trucks, telephone
bills, and Coca-Cola trucks.

To arrange file of photographs of committee leaders to
be used in rotogravure and general newspaper public-
ity-
General Chairman

Assistant General Chairman

SPEAKERS' BUREAU To induce all important clubs to have a
symphony speaker on June, September, or October
program.
To assemble competent and well-known speakers.

Appendix A 289

To arrange for speakers 1 conference (time, date, place,
subjects, and leaders to be determined later).

To assign speakers to clubs or other groups desiring sym-
phony speakers assuming clerical work incident to as-
signment.

To provide publicity department with schedule of
speaking date, clubs, speakers, and quotation of speak-
ers each day.

General Chairman

Assistant General Chairman

RADioTo arrange for daily, weekly and semiweekly regu-
lar programs with all our local radio stations for the
period of June i to June 30, September 1 1 to October
10. Plan different type of program to present for each
station. After plans with each station become final,
arrange for speakers and musicians.

General Chairman

Assistant General Chairman

Committee

SOCIAL RELATIONSTO form committee who will arrange for
all social functions for the Woman's Committee iiMdod-
ing workers' teas and victory luncheon.

General Chairman

Assistant General Chairman

VOLUNTEER OFFICE SERVICE To assist with mailing, filing,
and checking prospect lists and all clerical work is
office preparatory and incidental to the faE ticket
drive, May i through November i.

General Chairman

Assistant General Chairman

MUSIC APPRECIATION To arrange midseason mask: apprectt-
tion lectures, nature, time, and place to be
later.

General Chairman

Assistant General Chairman

290 America's Symphony Orchestras

Group II. Under Supervision of Second Vice-president

SPONSOR DEPARTMENT To secure tickets to be given to stu-
dents, approved institutions, or individuals who cannot
afford to buy or pay full price for symphony tickets.

General Chairman

Assistant General Chairman

HONOR CIRCLE To encourage present Honor Circle mem-
bers to win diamonds in their symphony pins and to
induce other members of Woman's Committee to win
a symphony pin this year. Honor Circle members of
each year should be urged to work for diamonds, not
just those of last year.

General Chairman

Assistant General Chairman

NEW RESIDENTS To visit new residents in each community
to acquaint them with the merits of the symphony or-
chestra and to induce them to attend the concerts.

General Chairman

Assistant General Chairman

Committee to be composed of chairman and 10 women
within each community who will canvass neighbor-
hoods for new residents and who will call upon them
personally if possible*

OUT-OF-TOWN COMMITTEE To arouse interest of residents of

cities adjacent to Cincinnati in season tickets.
General Chairman
Assistant General Chairman

Group HL Under Supervision of Third Vice-president

PROFESSIONAL DEPARTMENT To interest professional men in

the purchase of season subscriptions.
General Chairman
Assistant General Chairman

Appendix A 291

Committees to be grouped as follows with chairman and
vice-chairman for each group:

Doctors Public Officials Board of Education

Lawyers School Principals Clergymen

Dentists University and College School Teachers

Internes Faculties Nurses
Public Accountants

SELECT SEATS DEPARTMENT (A) To concentrate on the sale

of $45 seats.
General Chairman
Assistant General Chairman
Committee to consist of 50 dependable women who will

sell four $45 seats each.

SELECT SEATS DEPARTMENT (B) To concentrate on the sale

of $30 seats.
General Chairman
Assistant General Chairman
Committee to consist of 50 dependable women who will

sell four $30 seats each.

BOX SEAT DEPARTMENT To sell all of the box seats for both

performances to individuals or firms.
General Chairman
Assistant General Chairman
Committee to consist of 10 women each for Friday and

Saturday concerts.

COMMERCIAL RELATIONS To induce industrial companies,
banks, business firms excepting department stores
each to subscribe as a means of rewarding employees or
entertaining out-of-town clients.

General Chairman

Assistant General Chairman

Committee to consist of 100 women.

igz America's Symphony Orchestras

APARTMENTS AND HOTELS To interest permanent residents
of apartments, apartment hotels, and hotels in the pur-
chase of season subscriptions.

General Chairman

Assistant General Chairman

MUSIC CLUB DEPARTMENT To form committee of ro women
10 every music club who will canvass respective mem-
bership for season subscriptions.

General Chairman

Assistant General Chairman

Group IV. Under Supervision of Fourth Vice-president

civic CLUBS DEPARTMENT To contact all civic clubs, both
men and women, to induce them to buy a pair of sea-
son symphony rickets to be rotated among members or
resold to members or given to worthy students.

General Chairman

Assistant General Chairman

Committee to consist of at least 5 women for each club.

EIHJCATIONAL CXUBS DEPARTMENT Same purpose OS CIVIC

clubs department.
General Chairman
Assistant General Chairman
Committee to be made up of at least 5 members for each

club.

TCSIKESS AND PROFESSIONAL CXUBS DEPARTMENT Same pur-

pose and organization as civic clubs department.

CUITUEAJL CLUBS DEPARTMENT Some purpose and organiza-
tion as civic clubs department

WOMAN'S DEPARTMENT To form education, public-
ity, sad selling committees who will parallel work of
senior Woman's Ommittee (work in co-operation
with senior committee).

Appendix A 293

General Chairman
Assistant General Chairman

POLITICAL CLUBS DEPARTMENT Same purpose and organiza-
tion as civic clubs department.

FRATERNAL CLUBS DEPARTMENT Same purpose and organiza-
tion as civic clubs department.

PHILANTHROPIC BOARDS DEPARTMENTSame purpose and or-
ganization as civic clubs department*

Group V. Under Supervision of Fifth Vice-president

MUSICAL ADVANCEMENT DEPARTMENT To induce amateur

and professional musicians to subscribe for season tick-
ets.

General Chairman

Assistant General Chairman

Committee to be made up of at least 5 women for each
of the following music groups:

May Festival Chorus Private Violin Teachers
Protestant Church Choirs Private Voice Teachers
Jewish Choirs Orpheus Qub

Catholic Choirs Organists

Private Piano Teachers Public School Muse Teachers
German Singing Societies

YOUTH EDUCATION DEPARTMENT To educate youth as sym-
phony listeners develop higher sense of appreciation.
To form speakers' group, to make up program to tie
into the Young People's Concerts, to contact schools to
offer service of speakers, to form study groups for
public, private, and parochial schools in both elemen-
tary and high-school divisions*
General Chairman
Assistant General Chairman

294 America's Symphony Orchestras

ART AND HANDICRAFT DEPARTMENT To promote a finer sense
of appreciation for symphony music among art stu-
dents of greater Cincinnati schools, to conduct exhibit
in spring of 1940.

General Chairman

Assistant General Chairman

YOUNG PEOPLE'S CONCERTS DEPARTMENT To promote the sale
of season tickets to Young People's Concerts through
all schools and junior organizations.

General Chairman

Assistant General Chairman

Chairman, Public Schools

Chairman, Private Schools

Chairman, Parochial Schools

Chairman, Sponsors

TICKET ORDER FOLLOW-UP DEPARTMENT To Contact Sub-

scribers who have not picked up tickets in fall to de-
liver them if necessary.

General Chairman

Assistant General Chairman

Committee, geographically located, consisting of at least
25 women who will work September 10 through Oc-
tober 20.

* * *
JUNIOR WOMAN'S DEPARTMENT

PURPOSE

1. To assist with the general program of the senior
woman's activities on behalf of the Cincinnati Sym-
phony Orchestra.

2. To promote the sale of season subscriptions, each
member to assume quota new season subscriptions.

3. To develop an educational program for all junior

Appendix A 295

groups relative to symphony music generally and the

1939-40 season specifically.
General Chairman

Assistant General Chairman in Charge of Group I
Assistant General Chairman in Charge of Group II
Assistant General Chairman in Charge of Group III
Assistant General Chairman in Charge of Group IV

Group I

"ENQUIRER" ROTOGRAVURE COMMITTEE-TO obtain advertising
for woman's symphony roto section of Enquirer to be
published on Sunday, September 17. To supply all
junior models for advertisements at request of senior
chairmen.
General Chairman

Assistant General Chairman in Charge of Advertising
Assistant General Chairman in Charge of Models
This committee to work in co-operation with senior
chairman.

CO-ED COMMITTEE To popularize symphony concerts
among college students and to promote the sale of sea-
son tickets in all colleges in and near Qncinnati

To sponsor social activities among college students in
connection with the symphony.

To promote an interest in symphony music appreciation
programs.

To encourage participation of college art students in
woman's symphony art and handicraft project

General Chairman

Assistant General Chairman Representing Girls* Colleges,

Assistant General Chairman Representing Miami Univer-
sity

University of Cincinnati committee to consist of repre-
sentatives from each sorority and independent groups
within mortar board.

296 America's Symphony Orchestras

Girls' colleges committee of 15 from each college to be
formed in each of following:

Our Lady of Cincinnati Miami University

College for Girls Music Schools Conservatory and

JVIt, St. Joseph College College of Music

for Girls

HIGH-SCHOOL COMMITTEE To interest high-school students
of greater Cincinnati in purchase of season subscrip-
tions.

To plan and carry out educational and social events.
General Chairman
Assistant General Chairman
Chairman, Cincinnati Public High Schools
Chairman, Kentucky Public High Schools
Chairman, Private High Schools
Qiairman, Catholic High Schools

SELECT SEAT COMMITTEE (A) To sell $45 seats in co-opera-
tion with senior committee.

General Chairman

Assistant General Chairman

Committee to consist of 25 personable young women
who will endeavor to sell four $45 seats each.

SELECT SEAT COMMITTEE (B) To sell $30 seats in co-opera-

tion with senior committee.
General Chairman
Assistant General Chairman
Committee to consist of 25 personable young women

who will endeavor to sell four $30 seats each.

Group 11

SOCIAL 03MMITTEE To provide hostesses, ushers, and gen-
eral assistance at all symphony social functions in co-
operation with senior committee.

Appendix A 297

General Chairman
Assistant General Chairman

Committee to consist of at least 50 pleasant girls who will
be ready to serve upon notice,

BOX SEAT COMMITTEE To sell box seats for both Friday and
Saturday concerts to individuals or to firms, in co-
operation with senior committee.

General Chairman

Assistant General Chairman

Committee to consist of 10 extraordinarily capable young
women.

APARTMENT COMMITTEE To interest permanent guests in
hotels and residents of apartments in the purchase of
season tickets. The apartments to be covered by this
committee to be determined by mutual agreement with
senior chairman.

General Chairman

Assistant General Chairman

Committee to consist of apartment chairmen, vice-chair-
men, and committee of 10 women in each of designated
apartments or hotels.

OUT-OF-TOWN COMMITTEETO f orm symphony selling com-
mittees in all urban communities and small municipali-
ties within radius of twenty-five miles of CiiKiinati
who will promote the sale of season subscriptions.

To promote social, educational, and publicity activities of
Woman's Symphony Committee. This is to be done in
co-operation with senior committee. Communities to be
covered same as senior committee.

General Chairman

Assistant General Chairman

Committee to consist of community chairman, vice-
chairman, and committee of at least 10 in each com-
munity.

298 America's Symphony Orchestras

SYMPHONY SEAT PLAN COMMITTEE To take charge of seat-
ing plans at Woman's Symphony headquarters from
September to October .

To assist workers in finding seat locations for new sub-
scribers.

To assist subscribers in finding satisfactory locations.

To record daily the new subscriptions to be credited to
Woman's Symphony workers.

General Chairman

Assistant General Chairman

Committee to consist of 10 dependable women who will
devote specific days to this work.

Group III

VOLUNTEER OFFICE SERVICE COMMITTEE To SCCUTe office

workers who will devote a given amount of time each
week from May 15 through October 20 in Woman's
Symphony office and downtown headquarters.

General Chairman

Assistant General Chairman

SPEAKERS' BUREAU COMMITTEE To organize a junior speak-
ers' bureau who will assist with senior speakers' confer-
ence (date, time, place to be announced later).

To speak on behalf of the Symphony Orchestra.

To co-operate with senior chairmen in securing dates in
clubs and providing speakers.

General Chairman

Assistant General Chairman

Committee to consist of 10 or 15 competent speakers.

SYMPHONY TICKET BOOTH COMMITTEE To "man" booths in
department stores, hotels, for sale of season subscrip-
tions during two weeks of drive, September i8-Octo-
ber 9.
To arrange and carry out schedule for booth workers.

Appendix A 299

To keep booths supplied with materials.
To hold conference date, time, and place to be an-
nounced later.
General Chairman
Assistant General Chairman
Committee to consist of 10 girls for each booth,

RENEWAL COMMITTEE To follow up personally, or by
phone, all unrenewed subscribers at time designated
later to obtain 1940-41 subscriptions.

To form committee of 74 women who will serve at Fri-
day and Saturday concerts during April, 1940, renewal
booths to be "manned" by three women for each of 1 2
tables.

General Chairman

Assistant General Chairman

Committee to consist of at least 100 women.

Group IV

CLUB COMMITTEE To arrange speaking dates for spring and
fall club programs.

To organize selling committees for each club who will
check membership lists with symphony files at sym-
phony office. Then contact symphony nonsubscribers
to induce them to buy season subscriptions. To induce
them to buy tickets to be resold to members or given
to worthy students.

General Chairman

Assistant General Chairman

Committee to consist of 10 for each club either from
within or out of club membership.

FASHION SHOW COMMITTEE To supply all models for all

fashion shows held in the fall.

To assist with promotion of any show given for sponsors*
fund, if one is given.

30O America's Symphony Orchestras

To co-operate with chairman senior department business
relations for fashion show schedules and rehearsals.

General Chairman

Assistant General Chairman

Committee to consist of at least 50 models (experienced
if possible) representing Junior League and college
groups.

THE NATIONAL ORCHESTRAL SURVEY-
NEW YORK

QUESTIONNAIRE FOR CONCERT AUDIENCES 1

1. a. What kinds of music do you like? (Please check one

or more)

Serious such as Beethoven, Wagner and Tschai-

kowsky

Light such as Victor Herbert and Johann

Strauss

. . . .Popular such as modern dance musk:

Homely such as old-fashioned songs or hill-
billy ballads
b. Please double check above the one kind yoti prefer.

2. a. What type of music rendition do you like? (Please

check one or more)

Opera Symphony orchestra

Light opera Chamber ensemble

. Oratorio .... Dance orchestra

... .Vocal soloists

Instrumental soloists

. . . .Other (Specify below)

^This questionnaire form, developed by the National Orchestral
Survey, was distributed in concert programs to audiences in Grand
Rapids, Miciu, Harrisburg, Pa^ and Los Angeles.

301

302 Americas Symphony Orchestras

b. Please double check above the one type of rendition
you prefer.

3. How did you become interested in symphonic music?

(Rease check one or more)

.... by repeated attendance at conceits

. . . , by listening to it on the radio

, , . . bv listening to symphonic recordings

.... because you play some instrument

____ because 'of attendance at children's or young

people's conceits
____ because of some other influence (Specify: ----

............. ................ ..... ; ...... )

... .Or did you always like symphonic music?

4. au What type of musical education, either in schools or

under private teachers, have you had? (Please check

one or more)

.... Music appreciation . ___ Music history

. . . . Harmony

____ Instrumental instruction (What instrument (s)

..... ..... ...... * ......... .......... ...... )

b. Did you attend Children's or Young People's con-
certs before you were eighteen? Yes. .No. .

5. Are you or any of your family receiving any mu-
sical training at the present time? No. .Yes. . (IF YES,
please check one or more)

. . .Music appreciation ____ Music history

____ Harmony
. , , Jnstrairiental instruction (What instrument (s)

...... - ................................... )

(IF YES: ) Which member (s) of the family? ........

Do you or any member of your family play or sing

with any musical group? No. .Yes. .

(IF YES: ) Whkh meiBber(s) of the family? ____

What kind of musical group? . , ..... , . , . .

Appendix B 303

7. a. Do you subscribe to a season seat for the concerts

given by this orchestra or do you purchase seats for
Individual concerts? Season. .Individual concerts.

(IF YOU ARE A SEASON SUBSCRIBER, PLEASE SKIP TO
QUESTION #8)

b. Why do you not subscribe to a season ticket? (Please
check one or more)

Days of the week when conceits are given are

not always convenient.

Attend only when certain compositions are in-
cluded on the program.

Subscription costs more than I can afford.

. . . .Other (Specify: , ,

-- - .......)

c. Have you been a subscriber in past years? No.
Yes..

d. About how many concerts do you attend during the
regular winter season and about how many during
the summer season? NOTE: IF NO SUMMER CONCERTS

ARE GIVEN IN YOUR CITY PLEASE WRITE "NONE" IN THE
DESIGNATED SPACE USE u o" IF THERE ARE CONCERTS
BUT YOU DO NOT ATTEND THEM.

Attend winter concerts

Attend summer concerts

8. When is it most convenient for you and your family
to attend concerts?

Day of Week Afternoon Evening

Sunday .... ....

Monday .... ....

Tuesday ....

Wednesday ....

Thursday ....

Friday

Saturday

Americas Symphony Orchestras

a. Do you prefer concerts devoted entirely to the or-
chest ra or when it is assisting guest artists? Orchestra
alone. .(Jucst artists, .Some of each. .

b. Out of any 10 concerts during a season, how many
uould you like to have with guest artists?

c. Whkh'typcs of assisting artists do you like? Double
check the type vou prefer.

. . . . Vocal soloists Piano soloists

....Choruses ....Operas

Violin soloists

....Ballets

, . . .Other (Specify. . . . . ,)

a. What symphonk radio programs do you listen to
regularly?

b. Da you enjoy listening to these programs as much
as. .more than, .or less than, .attending actual sym-
phonic concerts? WHY?

c, Now that you can hear symphonic musk over the
radio, do you attend symphony concerts more often
riito before. Jess often. ,the same* . ? WHY? ,....,,

11. . Do you own any recordings of symphonic music?

Yes.. No..
b. Do you prefer to tear symphonic works on the

radio, .or cm a phonograph?
ii. What are your favorite symphonk compositions?

Appendix B 305

13. What factors are most important in your enjoyment
of an orchestra concert? What \\ould you change
which might increase your enjoyment? (By factors
we mean the conductor, the orchestra itself^ type of
programs, assisting artists, the hall, the seats^ etc-)

* * *

FOR STATISTICAL PURPOSES THE NATIONAL ORCHESTRAL SURVEY
WOULD GREATLY APPRECIATE RECEIVING THE FOLLOWING PER-
SONAL INFORMATION:

Age . . Country of birth:

Sex: Male. . " " your mother's birth:

Female . . " " " father's birth:

Type of Education: High School. .College. .Post Gradu-
ate. .

Occupation of the head of the house: ....................

If you are not the head of the

house, what is your occupation?

Do you own a piano, .phonograph, .radio. . If you do not
ow T n a phonograph, does your radio have a record pkyiog

attachment? Yes. .No. .

What make(s) of autoiBobile do you own?

Year

..Year......

...............*.... Year. , . . *

c

PROPOSED PLAN FOR THE ESTABLISH-
MENT OF A FEDERAL BUREAU OF FINE
ARTS

> 1

To the Friends of the Arts:

Last spring, two Bills were introduced in Congress pro-
posing the establishment of a permanent Federal Bureau of
Fine Arts. These Bills became generally known as the
"Pepper-Coffee Bills". The primary purpose of these Bills
evidently was not so much to foster the arts or aid the art-
ists, but to gain labor union control over them and to make
the WPA arts projects permanent.

One other Bill introduced in Congress, the "Sirovich
Bill", left out some of the more objectionable features con-
tained in the Pepper-Coffee Bills, but retained those pro-
visions which would make the WPA arts projects perma-
nent. Senator Pepper later amended his Bill (April 20, 1938)
and has offered a substitute Bill, identical with the Sirovich
Bill. The Sirovich Bill was put to a vote during the closing
days of the last session of Congress and was defeated by
the overwhelming vote of 35 in favor of and 195 against
the Bill. Since Senator Pepper's substitute Bill is now the
same as the Sirovich Bill, there is not much doubt that this
Bill also will be defeated.

1 This plan was proposed by Dr. Walter Damrosch and is widely
known as the Damroseh Bill.

306

Appendix C 307

There are among our artists a substantial number who
feel that the government should stay out of the fields of the
arts because there can not possibly be direct government
subsidy without politics and undue government regulation
of the arts. There are also many artists, however, who are
of the opinion, and I think justifiably so, that government
subsidy of the arts is desirable and that some plan could and
should be worked out whereby the arts may become a
proper subject of government recognition and concern.

When I appeared as a witness before the Senate Sub-
Committee on Education and Labor in opposition to the
Pepper-Coffee Bills, I stated that I was "in harmony with
all good citizens of our country who believe that the Gov-
ernment should recognize the importance of the arts". I
agreed that the Government should organize "a Bureau or
Department to demonstrate this recognition", but that such
a Bureau should have no direct connection with relief proj-
ects and should only serve to promote and advance the arts
among our people. Hon. Senator Pepper asked me if I
would suggest a plan for such a Bureau, Naturally, I replied
that the problem was not an easy one and that before mak-
ing any suggestions on such an important matter, I would
like some time to study the problem and also confer with,
and receive the benefit of the suggestions from, outstanding
members in the other fields of the arts,

Over a period of time, I invited many such persons to my
home and we spent many hours together discussing die gen-
eral subject of a Bureau of Fine Arts with a view toward
developing a workable plan. Among these persons there
were outstanding authors, dramatists, painters* architects,
sculptors and representatives of the stage and the dance, all
persons of achievement and of many years experience in
their respective fields and whose names are well kao^fn to
the American public. As a result of these conferences, and
taking into consideration the suggestions, criticisms and rec-
ommendations made, the attached proposed plan has been

308 America's Symphony Orchestras

evolved, in the drafting of which we have been assisted by
Mr. N. Henry Josephs, a New York attorney, who acted as
counsel before the Senate Sub-Committee and who pre-
sented the various witnesses appearing in opposition to the
Pepper-Coffee Bills.

The next session of Congress will not convene until Janu-
ary of 1939. In making this plan known at the present time,
I have only one immediate hope, that is, that our plan may
be widely circularized among artists, art critics, art organiza-
tions and those interested in the general welfare of the arts,
for their suggestions and criticism. All recommendations will
be carefully considered and such of them as will tend to
improve and better the suggested plan will be incorporated
therein.

The American public and our Government are now show-
ing a more general recognition of the arts and their impor-
tance for our people and the question of a permanent Fed-
eral Bureau of Fine Arts will very likely be brought up
again in Congress early this coming year. Therefore, I feel
that we should take advantage of this general interest and
work out a plan which would be accepted by our Govern-
ment and which would further advance the arts in the in-
terest of the cultural welfare of our Nation.

Cordially yours,

WALTER DAMROSCH.
New York, N. Y., December 10, 1938.

PROPOSED PLAN FOR THE ESTABLISHMENT OF
A FEDERAL BUREAU OF FINE ARTS

DECLARATION OF POLICY

SECTION i. The high aspirations and achievements of the
people of the United States in the field of the arts, particu-
larly during the last few decades, constitute eloquent proof
that the cultural development of the people of the Nation

Appendix C 309

and the further advancement of fine and applied arts are
deserving of aid and subsidy on the part of the Government
of the United States to the extent that the same be further
encouraged and developed in the interest of the general
welfare of the Nation.

It is, therefore, the declared policy of the Government of
the United States that Congress appropriate funds out of the
United States Treasury for the establishment of a National
Bureau of Fine Arts.

NATIONAL BUREAU OF FINE ARTS

SECTION 2. There is hereby created an independent bureau
to be known as the "National Bureau of Fine Arts" and
herein referred to as the "Bureau". The Bureau shall have a
Board of eleven Trustees to be known as the * 4 Board of
Trustees of the National Bureau of Fine Arts** and herein
referred to as the "Board of Trustees^.

It shall be the purpose of this Bureau to further the de-
velopment of art in the United States and to perpetuate the
cultural traditions of our country, through the education of
the American people for a higher and fuller understanding
and appreciation of the arts, with particular effort to be
made to reach the greatest number of people and particu-
larly those who at present are not able to receive the bene-
fits now available in the larger cities of this country.

The Board of Trustees shall cooperate with, and to die
extent that the same is feasible, shall work in conjunction
with, the various agencies of the Federal, State ami Munici-
pal Governments now existing, such as the Commisskmer of
Education of the Department of the Interior, the Section of
Fine Arts of the Treasury Department, the Library of Con-
gress, Smithsonian Institute, State and Municipal Art C&m-
missions, Boards of Education, Museums, Art Galleries and
other similar agencies, and with private art instktitioos not
organized for profit.

3io America's Symphony Orchestras

BOARD OF TRUSTEES

SECTION 3, The Board of Trustees, nine of whom shall be
persons not officers or employees of the Federal Govern-
ment or of any State or Municipal Government and who
shall be renowned in the fine arts and qualified by experi-
ence and training to perform the duties of their office and
who shall be as nearly representative as possible of the sev-
eral arts covered by this Act, shall be appointed by the Pres-
ident of the United States by and with the advice and con-
sent of the Senate. All Trustees shall be citizens of the
United States, The Trustees shall each serve for a term of
two years and they may be reappointed. Vacancies in the
Board of Trustees occasioned by death, resignation or other-
wise shall be filled in like manner.

SECTION 4. It shall be the duty of the Board of Trustees
to supervise the activities and work of the several Depart-
ments herein created and to make all determinations of gen-
eral policy necessary for carrying into effect the purposes of
this Act

SECTION y. The Board of Trustees shall elect one of their
number ts Chairman who shall be presiding officer of the
Board of Trustees and called the u Chairman of the National
Bureau of Fine Arts," The Board of Trustees shall meet at
lew: twice a year at its principal office which shall be in the
District 0f Columbia where the Bureau, its several Depart-
uaents, and die officers and the personnel thereof shall be
adequately housed upon Government property. The Bureau
may establish branch offices or agencies in any State and
may exercise any of Its powers within the United States and
its territories and possessions, At any meeting of the Board,
seiraa members shall constitute a quorum to do business.
Each nKOTber of the ^ard shall be paid for necessary travel-
ing and other actual expenses in attending meetings of the
Board, and shall receive no other compensation whatsoever.

Appendix C 311

The Board of Trustees shall also elect a person suitable
for the position to act as Secretary of the Bureau and who
shall also be the Secretary of the Board of Trustees and who
shall be known as the "Secretary of the National Bureau of
Fine Arts." The Secretary of the Board shall be required to
reside in Washington and shall devote his time and strvkes
exclusively to the business of the bureau, for which he shall
receive annually as compensation the sum of Ten thousand
dollars ($10,000),

DEPARTMENTS

SECTION 6. There are hereby created five Departments of
the National Bureau of Fine Arts to be known respectively
as the Department of Music, the Department of the ThcateV
and the Dance, the Department of Literature, the Depart-
ment of the Graphic and Plastic Arts, and the Department
of Architecture and Decoration,

Each Department shall consist of a Director at an annual
salary of Eight thousand dollars ($8,000) a year and a Sec-
retary at an annual salary of Six thousand dollars ($4ooo)
a year. The Director and Secretary of each Department shall
be appointed by the Board of Trustees and selected from
among persons qualified by experience and training m the
field of the art of the particular Department for wmcfa they
are appointed to perform die duties of their respective of-
fices and upon application by the respective Directots, and
to the extent that the same becomes necessary or is deemed
advisable, the Board of Trustees may appoint Assistant Di-
rectors, Assistant Secretaries and clerical help at secti sal-
aries as may be fixed by the Board of Trustees. The Direc-
tors and Secretaries of the several Departments shall be re-
sponsible to the Board of Trustees, who shall have the power
of removal by not less than a two-thirds vote of the entire
Board.

Persons employed by the Bureau shall not be subject to
the civil service laws or the Classification Act of 1923,

3i2 America's Symphony Orchestras

THE WORK OF THE BUREAU

SECTION 7. The Directors of the several Departments,
under the general guidance and supervision of the Board of
Trustees, shall, as soon as practicable, investigate and collect
statistics, data, and information relative to the standards and
methods now existing in the arts and shall, in the light of
such information, prepare and submit to the Board of Trus-
tees for their consideration and approval carefully developed
plans and proposals, with full and complete details, designed
to further the development of each of the arts under their
respective Departments and designed generally to promote
and aid the progress of cultural development among the
people of the United States, within the purposes of this Act.
Each such plan and proposal shall be accompanied by a
separate application addressed to the Board of Trustees for
the allotment of funds, out of the funds appropriated by
Congress for the purposes of this Act, setting forth the
amount required for the successful carrying into effect of
each such plan and proposal.

The Board of Trustees shall have the power to refuse to
approve any plan or proposal so submitted, with or without
cause, or in approving the same, shall have the power to in-
crease or reduce the amount of funds requested therefor, or
to approve absolutely or conditionally any such plan or pro-
posal, and if approved conditionally the funds allotted by
the Board of Trustees shall then be used by the respective
Departments subject to the conditions so imposed by the
Board of Trustees.

Each Department shall then be charged with the duty of
efficiently and successfully carrying into effect the plans and
proposals submitted by it and approved by the Board of
Trustees. The work of each Department shall include the
creative, interpretative, research and teaching aspects of its
particular ait and allied arts.

Appendix C 313

ANNUAL REPORTS

SECTION 8. The Board of Trustees shall render to Con-
gress a detailed annual report of its work and of the activi-
ties of the several Departments, together with a statement of
all funds received and disbursed. The Directors of the sev-
eral Departments shall make separate annual reports to the
Board of Trustees on the work of their respective Depart-
ments and give a detailed statement as to the manner in
which the various approved plans and proposals have been
put into effect, the benefits generally derived therefrom by
the American people and the manner in which the funds
allotted by the Board of Trustees to their respective De-
partments have been spent. In these annual reports the Di-
rectors shall also include such additional statistics, data, and
information relative to standards and methods prevailing in
their respective fields and shall also make such additional
recommendations for the consideration of the Board of
Trustees as will further the purposes of this Act.

ARTS PROJECTS AND ART ACTIVITIES OF THE
WORKS PROGRESS ADMINISTRATION

SECTION 9. Any and all records, reports, libraries and re-
search materials of the various arts projects of the Works
Progress Administration shall be made accessible to the duly
authorized officers and representatives of the Board of Trus-
tees and the several Departments of the Bureau for the pur-
pose of study and examination with the end in view of using
so much of the information thus made available as may, in
the opinion of the Board of Trustees and the Directors of
the several Departments, prove beneficial and desirable to
the carrying into effect of the purposes of this Act.

The Bureau and its several Departments created by this
Act shall be independent of, separate, distinct and apart
from, the Works Progress Administration and any of the
arts projects and activities of die Works Progress Adminis-

314 America's Symphony Orchestras

tration, which are now being carried as an emergency meas-
ure for the relief of the unemployed, and all right, title and
interest in any and all assets, contracts and other property
of the Works Progress Administration held by it in connec-
tion with its arts projects and activities shall remain and con-
tinue to remain in the Works Progress Administration.

APPROPRIATIONS

SECTION 10. There is hereby appropriated the sum of

dollars ($ ) for the purpose of

carrying out the provisions of this Act until the fiscal year
ending June 30, 1940.

SEPARABILITY

SECTION 1 1. If any section or provision of this Act be de-
cided by the courts to be unconstitutional or invalid, the
same shall not affect the validity of the Act as a whole or
any part thereof other than the part so decided to be un-
constitutional or invalid.

SECTION 12. This Act may be cited as the "National Fine
Arts Bureau Act".

SECTION 13. This Act shall take effect immediately.

INDEX

Academy of Music (Philadel-
phia), 27

Acoustics, 155-156, 242
Adapting concert to public de-
mand, 238 ff.
Administrative costs, 69, 78, 84,

85, 86, 88, 89; staff, 124
Admission price: Baltimore, 200;
Buffalo, 21 1; Federal Music
Project Concerts, 206; Long
Beach, 200; San Francisco City
Concerts, 203-204; summer se-
ries, 195

Advertising cost, 84, 86, 163-165
Age of audience, 227
American composers, works

played, 32, 33, 263
American compositions played

by Federal orchestras, 217
American Federation of Musi-
cians, 102 n.
Amplification, 196, 197
Art Cxjrnmission of San Fran-
cisco, 177

Assisting artists, 42, 43, 1151!.,
162-163, 167, 204, 251; cost of,
78, 84, 85, 88, 89, 92; demand
for, by audience, 231-232; or
Federal Music Project Orches-
tras, 217-218

Attendance at concerts, 19; fac-
tors affecting, 149* 166
Atwater Kent, 54
Audience, 169^ 183, 226, 250,
260; at Detroit Youth Concerts,

191; at Federal Music Project
Concerts, 207-208, 215, 217;
at summer concerts, 196, 215,
217, 242; demands for popular
concerts, 179; discrimination,
240; improvement in size, 279;
increased by "Pops," 182; man-
agement's view of, 141, 142;
new, 104; questionnaire, 301;
radio, 56, 58, 273; size of, 144,
147, 148, 160, 225; surveys, 226,
227

Auditoriums, 148, 149, 154, 157,
1 66, 241, 242, 262; supplied by
city government, 212

Auxiliary organizations, 121 ff.

Baldwin, Miss Lillian Luverne,
185; on place of music in edu-
cation, 193

Baltimore Municipal Department
of Music, 200

Baltimore Orchestra, 132

Bar facilities in auditoriums, 156

Beethoven Sockty (Portland,
Maine), 27

Belle Isle Concerts, 271

Benham, Mrs. Mies, 127, 285

Bergmann, Carl, 31

Berkshire Academy, 252

Berkshire Music Festival, 114,
195, 196, 252

Board members, responsibility or,

121, 133-135
Boston Academy of Music, 27

315

3 i6

Index

Boston "Pop" Concerts, 177, 178,
180-181, 239

Boston Symphony Orchestra, 24,
35 36, 37* 53? 6l i 68, 69 7> 77
78, 79, 86, 90, 91, 92, 93, 97,
99, 102 n., 104, 107, n<5, 122, 124,
138, 177; average budget, 75;
early budget, 67; endowment,
262; "Friends of the Orches-
tra," 129-130; length of season,
101; merchandising the, 114,
251; municipal help to, 201;
subscription prices, 147, 148,
149, 150; summer concerts, 195,
196, 198; tour policy of, 171,
172; Youth Concerts, 191

Box office, 244-245

Broadcasting as additional in-
come, 69, 81, 82, 86

Broadcasts, effect on audiences,
ri 2, 229, 236, 273, 274

Budget and Youth Concerts, 192;
Baltimore Symphony, 200; cost
of salaries, 96; of the New
York Symphony Society, 66;
payment plans, 243; trends,
90 rL

Budgets, 62, 65 ff., 70 ff., 146; of
Federal Music Project Orches-
tras, 218; of major orchestras,
70 ff.; of newer major orches-
tras, 83; of secondary orches-
tras, 87, 88, 116

Buffalo Orchestra, 209-210

Buffalo Philharmonic Orchestra
Society, 209

Building the audience, 250

Bull, Ole, 31

"Candid camera night" at the
Boston "Pops," 180

Carnegie College Sets of Rec-
ords, 51, 52

Carnegie Institute of Technol-
ogy* ives credit for concerts,
192

Carnegie Music Hall, 192
Castle Garden in New York, 31
Charleston (S. C.) String Sym-
phony, 64

Chicago Business Men's Orches-
tra, 63

Chicago Civic Orchestra, 63
Chicago shifts day of concerts,

158

Chicago Symphony Orchestra, 21,
24* 33 35i 63, 68, 69, 71, 91, 92,

93, 195, 198; average budget, 75;
Children's Concerts, 184; con-
certs on tour, 171; early bud-
get, 67; endowment, 262; in-
come, 70; management, 122;
"pop" concerts, 177, 178-179;
tour policy, 171, 174

Children's concerts, 69, 84, 86, 88,

94, 126, 147, 169, 182 ff., 202,
230, 240, 279; by secondary or-
chestras, 255; in Baltimore, 200-
201; in Detroit, 1875.; in Roch-
ester, 190; on tour, 187; receipts
from, 8 1

Cincinnati Art Museum, 122
Cincinnati College of Music, 33
Cincinnati Conservatory of Mu-
sic, 122
Cincinnati Institute of Fine Arts,

122

Cincinnati Symphony Orchestra,
21, 24, 34, 35, 36, 71, 91, 92, 93,
zoo, 124, 263; average budget,
75; Children's Concerts, 184;
endowment, 82; management,
122; subscription prices, 150;
tour policy, 172; Woman's
Committee of, 125, 127^
2855.
Cincinnati "Zoo" opera, 107, 195

Index

City Colored Orchestra (Balti-
more), 201

Civic Concert Service, Inc., 244,
247

Civic Orchestra (Rochester), see
Rochester Civic Orchestra

Civic Symphony Society of Den-
ver, 132

Clark, William Andrews, Jr., 36

"Classic orchestras," 63

Cleveland Board of Education,
185

Cleveland Orchestra, 24, 37, 71,
91, 92, 93, 124, 185; average
budget, 75; Children's Con-
certs, 183; educational concerts,
187; endowment, 82, 262;
"Friends of the Orchestra,"
130; management, 122; "pop"
concerts, 107, 177, 181-182; reg-
ular day for concert changed,
158; subscription prices, 150;
tour policy, 172; Youth Con-
certs, 191; Women's Commit-
tee, 126

Columbia Broadcasting Com-
pany, 53; symphonic hours
(sustaining programs), 55

Committee on subscription ac-
tivities of Hiilharmonic-Sym-
phony Society of New York,

13*
Commonwealth Orchestra in

Boston, 215
Community Concert Service, 244,

247
Compensation in new orchestras,

42-43

Competition of touring orches-
tras, 175, 176

Composers preferred by audi-
ence, 233

Compositions preferred by audi-
ence, 234

Concert market, 225 ff.

Concert series, income from, 69,
84,86

Concert tours, 1701!.

Concerts, Detroit Symphony, 188

Concerts bought by municipali-
ties, 202-203

Concerts by Federal Orchestras,
213-215

Concerts for varied audiences,
169$".; number given, 19, 20,
39, 40, 68, 71; number given on
tour, 171-172; of New York
Symphony Orchestral second
season, 66; per season, 62, 84;
regular series, 37, 38, 144 ff.;
summer season, 19

Conductors, 98, 160, i6t; back-
ground of, 1 1 8; duties, 117;
expenses, 77, 96, 97, 117, 277;
plan programs, 158-159; to mer-
chandise the concerts, 240

Connecticut Symphony Society,
212

Contributors to maintenance
funds, 267

Co-operative concerts, 108, 247

Co-operative management, 198

Cost of Federal MUSK: Project,

207
Cost of musician's training, no

Cost per concert, reduction of,
for saving, 112; for various or-
chestras, 67, 68, 83, 91 ; of early
orchestras* 66-67; Federal
Mosfc Project orchestras, 218-
219

Cost reduction, 1 1 1

Cost, see dso Advertising cost;
Administrative costs

County support of orchestras,
200 rl.

Credk at schools for concerts,
192

318

Index

Curtis Institute of Music, The,
49, no

Damrosch, Leopold, 33

Damrosch, Walter, 33, 53, 223,
306

Damrosch Symphonic Hour, 53

Date of origin of major orches-
tras, 24

Days of the week most suitable
for concerts, 157

Dayton Symphony Orchestra,

*3*

Deficit financing, 66, 261, 280

Deficits, 98, 260

Depression, effect on orchestras,
60, 76

Designing concerts to particular
groups, 239

Detroit Symphony Orchestra,
24, 71, 91, 92, 93, 107, 124, 177,
191, 201, 271; Belle Isle Con-
certs, 195, 198; Children's Con-
certs, 187 ff., 189; management
of, 123; subscription prices,
150; Women's Committee, 126;
Youth Concerts, 191

Donations to maintenance funds,
267

Duquesne University, gives credit
for concerts, 192

Early orchestras, 25

Eastman School of Music, 49,
no

Eastman School's American Com-
poser Concerts, 263

Education of audience, 227-228

Education through records, 50,
51*52

Educational Committee on Con-
tacts for Music Interest in the
Public Schools, 131

Educational concerts, 126;

(Cleveland), 185, 186
Edward Hatch Memorial Shell,

201
Endowment, 22, 66, 82, 83, 87, 94,

261 ff., 280
Erskine, John, 192
Esplanade concerts, 20, 114, 195,

196, 198, 201, 252
Euterpean Society, 27
Expansion of the orchestra, 465.
Expenditures for guest artists, 84
Expense trends of newer major

orchestras, 83 ff.
Expenses, secondary orchestra,

87 ff.

Experience of orchestra musi-
cians, in

Factors affecting regular or-
chestra attendance, 149 ff.; in-
fluencing audiences, 58

Fay, Charles Norman, 35

Federal and private support of
symphonies, 209-210

Federal Bureau of Fine Arts, 306

Federal Music Project, 44, 89,
199, 205 ff., 269, 270; audience
at, 225; benefits, 220-221; bud-
get and income, 218; concerts
attendance, 215; cost of, 207;
noncompeting, 207; number of
orchestras, 213; reach new au-
diences, 221-222; reorganization
of, 222; size of, 207

Federal Orchestras on tour, 215

Federal Symphony of Northern
California, 209

Federal Symphony Orchestras,
size of, 209

Financial data, 75

Financial organization of various
orchestras, 34, 35

Index

319

Financial support of orchestras,

40, 42
Financial value of assisting artists,

116

Financing problems, 21
Flagler, Harry Harkness, 35, 36
Folders for publicity, 164
Ford Symphony Hour, 20, 54,

236
Formation of several orchestras,

43-44
Frequency vs. price of concerts,

241-242
"Friends of the Orchestra,"

129 fi\, 139
Fry, H. W, 32

Functions of the board of man-
agement, 132, 134
Fund raising, 135
Future symphony orchestras,

272 ff.

General Motor's Hour, 54

Germania Orchestra, 30

Government support for sym-
phony orchestras, 199 flf., 269 ff.

Government subsidies, 281

Grand Rapids Federal Symphony
Orchestra, 217

Grand Rapids Symphony, 227 ff.;
audience, 274, 301

Grand Rapids Symphony So-
ciety, 132

Grant Park Concerts, 20, 107, 195,
198

Graupner, Gotdieb, 26

Growth of orchestras, 46

Guest artists, see Assisting artists

Guest conductors, 107

Hall as endowment, 265
Hail rental, 69, 78, 84, 85, 88, 89,
9 2 > 93* 95; size, 154-155

Handel and Haydn Society, 26,

3*
Harnionick Society (Baltimore),

27 .
Harmburg Symphony Orchestra,

227 fL, 301
Harrisburg Symphony Sockty,

132
Hartford Symphony Orchestra,

2II-2I2

Harvard Musical Association, 28,

3^

Haydn Society (CJijcinuati) , 27
Herbert, Victor, 33
Hevnor, Kate, 41 0.
Higginsoa, Colonel Henry l^ 35,

25 1
Highland Park Junior College,

gives credit for concerts, 192
Hollywood Bowl Concerts, 19,

196, 202
Hughes, Mrs. Adella Premiss, 184

Illinois Federal Symphony of
Chicago, 209

Income, 79 fL, i&S, 169; Federal
Music Project Coocera, 218;
from radio, 253 if.; from tours,
70; maintenance ftiads, 261; of
eariy orchestras, 66-% of
secondary orchestras, 87 jf^
sources of, 65 fL; treads ie,

Income, see ato Operating KJ-

come
Indiana State Symphony Sociefy,

123
Indianapolis Symphony Orcbcs-

*" 2 4. 39, 75, %1> 9U 92* 93*
124; Children's Coiicerts, 183,
184-, hall capacky, 154; managtj-
ment, 123; popular O3iKrts
177; touring policy, 172; Yontli

320

Index

Concerts, 191; Women's Com-
mittee, 126

Individual sponsorship, 35, 36
Institute of Fine Arts (Cincin-
nati), 36, 263
Instruments, cost of musical, in

Josephs, N. Henry, 308
Juilliard School of Music, 49,

no

Jullien, M., 31
Junior Woman's Department of

Cincinnati, 294

Kansas City Philharmonic Or-
chestra, 24, 39, 75, 83, 91, 92,
93, 124, 202; Children's Con-
certs, loo- "pop" concerts, 177,
178; tour policy, 172

Kansas City Philharmonic Or-
chestra Association, 124

Length of season, 99, 101
Lewisohn Stadium Concerts, 19,

195, 196
Lind, Jenny, 31
Little Folks Program, 186
Local concert managements, 244,

246

Location of hall, 155-156
"Logical area of service," 176
Long Beach Woman's Symphony

Orchestra, 200
"Long-time" planning essential,

141
Los Angeles Federal Symphony

Orchestras, 209, 214, 217
Los Angeles Orchestra, see Phil-
harmonic Orchestra of Los

Angeles

Maddy, Joseph &, 20 n.
Mailing lists, 164, 245
Maintenance funds, 22, 40, 66, 82-

83, 85, 87, 88, 89, 94, 95, 169,
205, 264, 265 ff., 278, 281

Major orchestras, 61, 171; bud-
get, 19; date of establishment,
21, 23; number of, 19; percen-
tage of earned income, 21;
since 1920, 3 9 if.

Management, nrff.; duties of,
132, 134, 135-136; functions of,
140; cost of, 142; of secondary
orchestras, 117, 255, 256, 257; of
summer series, 197

Managers of orchestras, 132-134^
135-136, 268; on prices, 151

Market for symphony concerts,
2256% 235-236, 238

Martini, Nino, 204

Membership dues, 130; of auxil-
iary organizations, 125

Membership in early orchestras,

29

Merchandising the orchestra, 99,
148, 159, 224, 244, 278

"Merchandising" the Boston
Symphony, 114

Metropolitan Opera, 55

Minneapolis Symphony Orches-
tra* 2 4> 33> 37. 54> 7 J 9*, 9*>
93, 107, 171, 181; average
budget, 75; hall capacity, 154;
Honeywell program, 54; man-
agement, 123; popular concerts,
177; tour policy, 171, 173, 174;
Youth Concerts, 191

Minnesota Federal Symphony
Orchestra, 212

Monte Carlo Ballet Russe, 204

Monteux, Pierre, 56

Moore, Grace, 204

Motion picture theater orches-
tras, 49, 50, 106, 275

Mount Mercy College, gives
credit for concerts, 192

Mueller, John HL, 41 n.

Index

321

Municipal subsidy, 22, 200 ff.

Music appreciation, 185, 186, 188,
189, 192, 231; aided by radio,
53; by records, 50, 51, 52;
groups, 126

Music education in the schools,
46

Music Educators National Con-
ference, 47

Music festivals, 174

Music for performance, 89

Music Fund Hall, 27

Music memory and appreciation
contests (Cleveland), 186

Music School Settlement Houses,
184

Musical Arts Association (Cleve-
land), 37, 122, 184

Musical education of audience,
2zS

Musical Fund of New York, 27

Musical Fund Society of Phila-
delphia, 27

Musical magazines, 25

Musical perferences, 231 ff.

Musicians* union, 102; see s&$o
Union agreement

Mutual Broadcasting System, 55

Nassan Street Theater, 25
National Broadcasting Company,

53

NBC Pacific Coast Network, 54
NBC Symphony Orchestra, 20,

56, 58; Concerts, 236* 237;

Music Appreciation Hour, 53
National Bureau for the Ad-
vancement of Music, 47
National High. School Orchestra

a ; i<[ Band Camp, 47, 48
National Orchestral Association

of New York, 63
National Orchestral Survey

Questioniiaire, 501

National Symphony Orchestra
Association, 123

National Symphony Orchestra of
Washington, D. C., 24, 39, 71,
75, 83, 109, 124, 194; Children's
Concerts, 190; management,
123; tour policy, 172

New Haven Symphony Orches-
tra, 132 ^

New music, its place on pro-
grams, 159

New Orleans Symphony Orches-
tra, 132

New York Federal and Civic or-
chestras, 213

New York Oratorio Society, 53

New York Philharmonic Orches-
tra, 42

New York Philharmonic Society,
22, 24, 27, 30, 31, 33

New York Philharmonic-Sym-
phony Orchestra, 53, 55, 58,
7 77, 7% So, 86, 90, 92, 93,
97, 99, 104, 107, 124, 195, 226,
236; average budget, 75; en-
dowment, 262; promotional
cocnmittees, 131; radio sradi-
enee, 20, 21; safoscriptioa prices,
149; toor policy, 171; Young
People's Concerts, 183-184

New York Philharmonic-Sym-
phony Society, 19, 123

New York PhOharmonk-Sym-
phony Society Women's Com-
mittee, 125

New York Sacred Music Society,

2 7
New York Symphony Orchestra,

33> 34* 37* 535 budget for sec-
ond season, 66

Noaoperatmg income, 21, 22, 82
Northern California. Federal
Symphony Orchestra, 214

322

Index

Northrup Memorial Auditorium,

154
Number of concerts given by

various orchestras, 37, 144, 166;
by Federal Music Project Sym-
phonies, 207; for children, 183

Oberhofer, Ernil, 33

Occupation of members of audi-
ence, 228

Oklahoma Federal Symphony
Orchestra, 209, 213, 215

Oklahoma State Symphony So-
ciety, 209

Operating income, 65, 69, 80, 84,
86, 146, 147, 169, 170, 173, 177,
183, 276; from "pops," 178; im-
provement in, 224*!., 279; pos-
sibilities to increase, 260 ff.

Operation cost, 69-70, 121

Orchestra Hall (Chicago), 70,
262

Orchestra musicians and their
training, 109, iio-m

Orchestral Society (Boston), 28

Orchestras, Government support,
1991!.; size of early, 27

Organizations for promotion of
secondary orchestras, 131-132

Organization of orchestras, 121

Parking facilities affect hall ac-
ceptance, 155-156
Pasadena Civic Orchestra, 202
Pattern of growth of orchestras,

41 ff.
Pennsylvania College for Women,

gives credit for concerts, 192
Pepper-Coffee Bill, 223, 306
Per concert costs for personnel,

7^77

Permanent orchestras, 33 ff.
Personal promotion, 165
Personnel, 61, 169; and promo-

tion, 249; background of, 109-
110, in; box-office, 245; costs,

67, 69, 77, 84, 85, 88, 89, 91, 92,
95, 96 ff., 101, 260, 277; of Fed-
eral Project Orchestras, 218;
cut in, i oo; expenses in second-
ary orchestras, n6ff.; extended
to assisting artists, 115-116; of
Federal symphonies, 206-207,
210; of secondary orchestras,
118-119

Philadelphia Orchestra, 24, 37, 54,

68, 69, 70, 77, 78, 80, 86, 90, 91,

9 2 > 93 97 99> IO 4i IO 7> "4,
148; average budget, 75; board
of managers, 122; endowment,
262; summer series, 196; tour
policy, 171, 172; Women's
Committee, 125; Youth Con-
certs Association, 191

Philco Hour, 54

Philco Symphony Orchestra, 54

Philharmonic Orchestra of Los
Angeles, 19, 24, 34, 36, 37, 71,
or, 92, 93, 107, 122, 131, 270;
audience, 22jf^ 274, 301;
changes day of concerts, 158;
Children's Concerts, 190;
county financial help for, 202;
popular concerts, 177; summer
series, 196; tour policy, 171

Philharmonic Society (Bethle-
hem), 27

Philharmonic Society in Boston,
26

Philharmonic Society (New
York), 26-27, 32

PruTharmonic-Symphony League
of New York, 130

Phonograph records as income,
70, 81, 82; number sold, 20

Pittsburgh Symphony Orchestra,
24, 33, 34, 36, 39, 75, 83, 91,

Index

323

92, 93, 124; no touring by, 172;
Youth Concerts, 191, 192

Pittsburgh Symphony Society,
123

Players* income, 34

"Pop" concerts, 37, 38, 101, 191,
239, 280; (Boston), 114, 252;
must be distinctive, 182; no
longer satisfactory for audi-
ences while on tour, 58

Popular concerts, i69fL, ijjff.

Price of Boston "Pops," 178; of
children's concerts, 186, 188,
190; scale for single admis-
sions, 153; schedules should not
vary, 151; secondary orchestra,
166-167; of subscription tickets,
149, 242, 243; Youth Concerts,
191

Price, see also Admission price

Prices, compared with size of
hall, 150; factors affecting, 150

Program advertising, 82, 88

Program expenses, 78, 79

Program for popular concerts,
178, 179

Program policy, 149

Program standards, 58

Programming, 1585.

Programming new works, 159,
164, 167; children's concerts,
183; the "pops," 180

Programs, 29, 33, 37, 38, 30, 41,
43, 49, 63; at summer concerts,
196; children's concerts, 186,
IQO; for advance distribution,
164; for popular concerts, 178;
must please all, 160; need re-
examination frequently, 239; of
early concerts, 25, 27, 28; San
Francisco City Concerts, 204

Promotion, 163-165; expenses, 78;
for youth concerts, 191; for

secondary orchestras, 168, 255,

257, 281
Publicity, 2485.; continuity ne-

cessary, 164; costs, 84; for Bos-

ton "Pops," 180-181
Purpose of secondary orchestras,

Questionnaire for concert audi-
ences, 226, 301 ff.

Radio, 236, 280; as an educational
factor, 53 fF.; as strppIemeBtary
income to orchestras, 106

Radio audience, 20, 226

Radio broadcasting, 20

Radio City Mask Hall Orchestra,

55

Radio in Detroit classrooms, 189
Radio income, 65, 94, 253 ff,
Rates of compensation, 99
Ravinia Park, 107
RCA Victor records, number

produced, 52
Reasons for noosofoscriptkm t

regular series, 235-236
Reading Symphony **Frieaa*$s**

132

Recorded music, 50 0,
Recording income, 86, 94, 253 ff.
Records, 237, 253 ff^ 280; as fac-

tors in attracting an audience,

230; educational, 50, 51, 52;

number produced, 52; sym-

phonic, 276; used m schools,

185, 186

Red Seal catalogue, 51
Ref reshmeots at w pop w concern,

i So
Regiilar concerts, 146; attend-

ance, 147-148; <&P g*re&, 157-

158; secondary orchestras, 166-

168
Rehearsals, 66, 67

Index

Repertoire, 38, 39, 41, 42, 174,
175, 180; demanded, in, 234

Robin Hood Dell, 196

Rochester Civic Music Associa-
tion, 123, 124, 263

Rochester Civic Orchestra, 24, 39,
75, 83, 91, 92, 93; Children's
Concerts, 183, 190; endowment,
263, 266

Rochester Philharmonic Orches-
tra, 24, 39, 75, 83, 91, 92, 93,
123; endowment, 263, 266; pop-
ular concerts, 177; tour policy,
172

Rodzinski, Artur, 56

Roxy Symphony Orchestra, 53

Roxy Theater Orchestra, 50

Sachs Scholarship, 122

St. Louis Symphony Orchestra,
24, 34, 71, 91, 92, 93; Children's
Concerts, 190-, light opera, 107,
195; popular concerts, 177; tour
policy, 172; Women's Commit-
tee, 126; Youth Concerts, 191

St. Paul "pop" concerts, 181

Salaries, 112-113, 277; average,
102-103; conductors', 69, 06,
97 fF.; for summer series", 108-
109; players', 40, 69, 06, 97 fL,
104, 119; rise in, 175; seasonal,
102-103

Sales policy, 249-250

Sales promotion, 248

San Diego Federal Orchestra, 209

San Diego Symphony Orchestra
Association, 209

San Francisco Opera Company,
107-108, 195

San Fnmdbco Orchestra, 24, 71,
75, 91, 92, 93, 202-203; Ckfl-
dren's Concerts, 184; popular
concerts, 177

SaraofiF, David, 56

Schelling, Ernest, 184
School bands, number of, 47
School broadcasts, 54
School music education as audi-
ence builder, 48

School orchestras, number of, 47
Season, length of concert season,
169; regular, for various or-
chestras, 37

Season tickets, price of, 243
Secondary orchestras, 39 ff., 62,

i?5

Selling symphony tickets, 244 ff.

Semiprofessional orchestras, 20

Services, 39, 40, 69, 112-113, 169,
225, 238, 279; of Federal Or-
chestras, 205

Severance, John L., 37, 262

Severance Hall (Cleveland), 154,
186, 187, 262

Single management desirable, 115

Single seat admissions, 84, 86, 88,
163, 238

Sirovich Bill, 306

Size of audience at children's
concerts, 187, 188, 100

Size of Federal Symphony Or-
chestras, 209

Size of hall, 148

Size of orchestra, 34, 35, 37, 40,
99-100, 118, 241

Soloists at summer series, 196

Sources of income, 63 ff .

Southern California Symphony
Society, 122, 130

Special concert series, 65, 81, 84,
86, 169

Special problems of secondary
orchestras, 254 ff.

Special school nights at Boston
"Pops," 181

Specialized orchestras, 62

Splitting seasons to increase sub-
scribers, 153

Index

3 2 5

Sponsorship by city governments,
212; of individual concerts, 212-
213

Staff, 124
Stage, 156, 157

Standard Oil Company of Cali-
fornia, 20, 54

Standard School Broadcasts, 54
Standard Symphony, 54
Standard Symphony Hour, 237
"Star" conductors, 161-162
State support of orchestras, 200 ff .
Stokowski, Leopold, 204
Student orchestras, number of,

273

Student ticket fund, 131

Subscription concerts, 144 ff.

Subscription price of children's
concerts, 184; of various or-
chestras, 149

Subscription sales, decline in, 65,
80, 88, 89; in Cincinnati, 127,
129

Subsidies, 66

Summer concerts, 32, 115, 153,
169, 194 ff n 240, 280; as supple-
mentary income, 105, 107; man-
agement varies, 115

Sunset Symphonies (Washing-
ton), 195

Supplementary income for play-
ers, 105 ff.

Survey advantages, 238

Sustaining organizations, 121, 139,
268

Sustaining symphony hours on
the radio, 55

Symphony broadcasts, 54, 55, 236

Symphonic films, 275

Symphonic music, development
of, 22 ff.

Symphony Hall (Boston), 162;
for "Pops," 180

Symphony orchestras, 28; of the
future, 272 ff,; location of, 24-
25; number, 20; organization,
effect of depression on, 60

Symphony Society of New York,
24, 36; tours Europe, 39

Syracuse Symphony Committee,
'209

Taft, Charles Phelps, 36, 263

Taft Museum, 122

Textbooks, musical, 51

Theater orchestras, 59

Thomas, Theodore, 32, 35, 177

Ticket receipts, 21

Ticket sales for Chicago w pop w
concerts, 179

Ticket selling, 244

Tflton, Mrs. Edith Rhetts, 187,
188, 189

Time of week preferred for con-
certs, 235

Timing the program, 161

Toscanini, Arturo, 20, 56

Tour concerts, 112, 146-147, 171

Tour receipts, 172-173

Tours, 37, 65, 79, 81, 84, 86, 169,
246, 247, 248, 280

Training, cost of, in

Traveling orchestras, 30 ff.

Types of orchestras, 61

Union agreement, 112-113, I31 4*

169, 194, 252, 277
Union regnktions, 253
Union restrietioos on outside

work, 106-107
University of Detroit, gives

credit for concerts, 192
University of Pittsburgh, gives

credit for concerts, 192
University of Rochester, 263

326

Index

Vermont State Symphony Or-
chestra, 259; gets state financial
help, 201

Victor Talking Machine Com-
pany, educational program, 50,
5L 52, 53

Wages, 61; average annual, 114;
for Federal Project players,
219-220

Wayne University, gives credit
for concerts, 192

"Western Reserve University, 262

Wilkes-Barre and Scranton Sin-
fonetta, 63, 64

Wisconsin Federal Symphony
Orchestra, 209, 217

WNYC, 56

Woman's Committee for Cincin-
nati orchestra, 127, 285 fr*.

Women in orchestras, 118

Women's Auxiliary Board (of

New York Philharmonic Sym-
phony Society), 125

Women's Committee (Cleve-
land), 178

Women's committees to sell
tickets, 244, 246

Women's Symphony Orchestra
of Chicago, 62

Women's Symphony Orchestra
of Long Beach, 62, 200

Worcester Music Festival, 31

WQXR, 56

Wyoming Valley Bach Festival,
64

Young People's Symphony Or-
chestra Association of Minne-
apolis, 126

Youth's concerts, 69, 81, 84, 86,
94, 126, 147, 169, 182 fL, 190-
191, 240, 279; in Boston, 252

Zerrahn, Carl, 31

1751-1

112456