Diversifying the Symphony

On this last day, I want to thank my colleagues who made time to participate in this panel and for Polyphonic’s interest in hosting it. This issue desires thoughtful consideration and many aspects have been explored during the panel. It was a pleasure and I appreciate it very much.

If you love something, you want to share it. It follows then that if we love symphonic music, then achieving ethnic diversity in all aspects of the orchestra should be important to us.

Deine Zauber binden wieder,*Thy magic binds together*
Was die Mode streng geteilt; *What tradition has strongly parted,*
Alle Menschen werden Brüder,*All men will be brothers*
Wo dein sanfter Flügel weilt.*Dwelling under the safety of your wings.
-Friedrich Schiller

Thus words used in the 9th symphony of Beethoven can be understood in the context of this conversation of ethnic diversity in American orchestras. The first sentence can relate to the beauty of music and our shared history of discrimination in American symphonic music and the resulting structures, racist assumptions, and surviving cultural mores. This reality is masked by phrases that have become clichés due to over use and inaccuracy. Clichés in response to this issue include:

“We must maintain the quality and integrity in the process” (implies that there has been a long tradition of integrity in the process, there hasn’t; that the process is perfect as is, it’s not; and treats other people as potential “destroyers of music” as opposed to people who have also dedicated their life to this art form; and erects an elitist world where we aren’t obligated to share this culture with “outsiders.”)

“The best player wins” (again you can only hire the best person out of those at the audition. Are we tapping all available sources for the best players? Seven years ago, the Chicago Symphony, under President Henry Fogel and board member Charles A. Lewis’ leadership, collaborated with the Center for Black Music Research to build a database of minority orchestral musicians to serve the entire orchestra field in finding the best players. Not one orchestra would financially support it and very few cared enough to utilize it.)

“What we can do is invest in more arts education in the schools for minority children”
(deflects the concern for 20-30 years and focuses on appreciation, meaning you can be in the audience, rather than high-level information pertaining to running the orchestra or leading the section.)

These types of beliefs lack integrity in that they take no ownership for how the culture of this field has been constructed over seven decades of disenfranchisement, and how it has dismantled paths to access for thousands of gifted artists. The lack of representation has very little to do with knowledge about our music or being able to play an instrument. Coleman Hawkins played the cello. Why did such a genius switch? I love his “Body and Soul,” but imagine his interpretation on “Don Quixote” or the “Mother Goose Suite.”

Things are much better since Jack Bradley “won” his job in 1947 in the Denver Symphony. There are less overt barriers to participation by all; more minority players are in the field as players, managers, staff, and board members; there is less fear of reprisal for speaking out about injustice and racist treatment; and succeeding generations of players are less constricted by inferiority complexes or self-doubt due to the changing environment. Personally, I have felt nothing directly but acceptance in all my musical situations, and am comfortable to express myself honestly as an Executive Officer of the American Symphony Orchestra League. Nevertheless, we must accept our shared history and stay vigilant about what is best for our music. Not because we have to, given the money auditions will stay popular, but because as artists and music lovers we have come to expect and therefore seek excellence in all people.