Air on a shoestring

If we want British orchestras to remain excellent, they must be sustainable. This presents a triple challenge: for the orchestras themselves to reach out to new audiences; for government to ensure the broader policy environment works for, rather than against orchestras; and for the wider arts community to build understanding and knowledge about classical music. There is no doubt that in terms of the range of music we put on, the quality of musicianship, the size of our audience and our reputation here and overseas, British orchestras can truly be described as excellent.
Despite the recession, orchestras are still enjoying widespread public support. The message from the public seems to be “keep being excellent and we’ll support you in the downturn”. A recent survey commissioned by the Association of British Orchestras (ABO) (AP189) found that more people would prefer to watch a classical concert than go to a football match. Two-thirds of people agree that orchestras are an important part of British life, and over half think that the arts should be supported despite the tough economic times. Orchestras are responding to the challenge of the economic downturn, and are doing their utmost to sustain themselves, by ensuring that their concert programmes are interesting and enjoyable and by developing new audiences. Each week up and down the country, orchestras are going out to schools and into the community to bring the joy, beauty and excitement of classical music to people who may never have experienced them before. There is also a commitment to ensure that every child experiences a full orchestral concert, preferably in their local concert hall, during their school years.
A mixed economy
Our focus is very much on the future and how we can sustain and build on our excellence. Although the leaders of our orchestras would readily acknowledge the support that they have received from the Government over recent years, there are still difficulties. UK orchestras enjoy a unique funding mix, often including corporate sponsors, local government and local agency grants, and national government funding. It’s important that in times of economic hardship we try to sustain that model so as not to fall victim to an over-reliance on one particular sector. In the US for example, national orchestras are almost entirely funded by private sponsors, which, given the financial crisis, has resulted in a major shortfall of funding. Across much of Europe, orchestras are almost entirely state-funded, again leading to potential funding problems during a recession. There is also a difficult balancing act that orchestras are trying to manage in order to be of most benefit to the UK and the communities in which they are located. The Home Secretary recently announced further restrictions on the numbers of people from outside of the EU who could do highly skilled jobs in the UK. Our orchestras, which tread the delicate line between developing and promoting the best of British talent alongside seeking the most outstanding players from overseas, are watching closely to ensure that changes to immigration rules do not make it more difficult to attract the best conductors and players to the UK. We compete and perform on the world stage and in a global market and this must not be allowed to be compromised. 

Shouting about it
This is part of the wider debate about the role of classical music in Britain today. Do we want it to have the same international kudos and status as other art or cultural forms? Last month, the Oscars were rightly feted as a great triumph, when a British film with a British Director won many awards. But ‘Slumdog Millionaire’ was made great through British leadership combined with lots of input and influence from other international partners. Our orchestras use the same model and we need to ensure this can be sustained. This is not just about government’s role. At our conference last month, cultural commentators worked with orchestra leaders to think about and debate this more widely. Why don’t orchestras get as much airtime or commentary in the serious media as other artforms? Of course concerts are reviewed, but the story we have to tell is much more than one person’s perception of a performance. In tough economic times the public wants the government to take a lead and support our excellent orchestras. This undoubted commitment needs to be matched by a wider recognition, in the media, in schools and communities of the role of orchestras in the context of Britain’s place in the world. Last month saw the first steps taken as part of ‘In Harmony’, a pilot inspired by Venezuela’s ‘El Sistema’ youth music scheme, led by Lambeth Music Service in London. There are two other pilot schemes, one in Liverpool and one in Norwich. Focusing on one of our inner-city estates, the London Philharmonic Orchestra players began a dialogue with local residents that will develop over the next two years. Orchestras should be part of the fabric of our communities, and should continue to be sustained as symbols of British excellence which are recognised internationally and contribute to our cultural and economic well-being now and into the future. The orchestras are up for this challenge.