Off the podium, orchestral programming is one of the most rewarding and challenging activities that I do. (See my link of concerts on this blog to view the whole shebang) Given the recent national conversation regarding diversity (or lack thereof) in orchestral programming, I thought it prudent to look at my own programming for next year with three of the orchestras for which I have the responsibility of programming: the Salt Lake Symphony, Sinfonia Salt Lake, and the University of Utah Philharmonia. I’ve only included “classics” concerts. Excluded are pops, family concerts and the like, as that would greatly skew the “living composer ”category. It’s also hard to determine for certain concerts where some pieces are quite short—for example the December 6 concert with Monika Jalili, which will include songs by Iranian composers, as each song is only about 3 minutes in length. How does one compare that to a larger work? So for the sake of not appearing to “cook the books,” I’ve combined all of those songs into one category, counting them as a value of “one composer.” So here’s the score, out of 44 pieces programmed on classics concerts between 3 orchestras:
Composers of color: 5
Silvestre Revueltas, Shalan Alhamwy, Mohammed Fairouz, Banned Iranian songwriters, Saad Haddad
Women composers: 5
Anna Thorvaldsdottir, Stacy Garrop, Fanny Mendelssohn, Mary Lou Prince, Alexandra Pakhmutova
Living composers: 13
Arvo Pärt, Anna Thorvaldsdottir, Henry Wolking, Devin Maxwell, Nathaniel Eschler, Stacy Garrop, Mary Lou Prince, Alexandra Pakhmutova, Banned Iranian Composers (some?), +4 Composers for the Utah Arts Festival Commissioning Concert
While trying to program an engaging concert experience is my first goal, I do try my best to react correctly to the changing tides. I’ve no idea if this is a “good average” or not, but based on number of concerts, it appears to be more diverse than both the Cleveland Orchestra and Chicago Symphony, both of which had scathing articles (here and here) written earlier this year regarding their programming. (No judgment and not gloating, it’s just a statement of fact). Orchestral programming is exceptionally difficult to balance, considering the weight of the history of the repertoire. No other ensemble relies as much on the past as do orchestras. And therein lies part of the challenge.
So, what do the readers think? Does it look like a good average? And how will audiences respond? That is certainly a question to be answered from the seats next season, and perhaps from the box office in following years. I, for one, remain confident it is a direction we must take.
Feel free to make respectful comments below.
Copyright, 2018. Robert Baldwin, Before the Downbeat