Why Media?

In response to the questions of the moderator:

The creation, from recorded orchestral performance, of musical products, in their plethora of forms, whether radio broadcast, CDs, downloads (compressed or ultra high fidelity), streamed concerts, or on-demand streamed files, offer an equally various number of benefits to orchestral organizations. All of these forms of distribution, if favorably received (in other words, if they sell), have tangible benefits for the international reputation of the orchestra and will positively affect marketing, audience development, fund raising, musician morale, and the ultimate viability of the orchestral organization. Over the last forty years the importance of the role of media has been seen in the growth and continuing viability of several of our great orchestras. The Berlin Philharmonic, Philadelphia Orchestra, Chicago Symphony Orchestra, and the Cleveland Orchestra are examples of how important recording is to an orchestra.

Our experience in Chicago has seen the benefits of not just a large number of recordings, but the cross marketing potential of having 39 – 52 weeks of syndicated radio broadcasts all over the world for 30 years; it has been integral to establishing and maintaining the reputation of the orchestra. A cursory look at iTunes reveals that some these recordings made almost fifty years ago are still selling well. Media has been the one of the basic corner stones of not only the orchestra’s success, but also of musician compensation. Therefore, it is all the more tragic when management let both the recording and broadcasting disappear in the last few years.

The CSO has been able to very easily measure the value of media. Our tours were organized around the release of new recordings, stimulating both the sale of tickets on tour and the recordings. Besides annual residual payments to the Association, the ancillary benefits – positive public relations, increased ticket sales at home post tour, ease in engaging top ranked soloists and conductors, fund raising, etc. – were tangible.

As in any market, the market for classical orchestral media changes over time. How much, for who, and why is open to a lot of discussion, but regardless of those questions, there can be no doubt that media has been and, especially in this media savvy age, must be a fundamental activity of orchestral organizations.