Diversifying the Symphony

Let me begin this final post by saying that I’ve really enjoyed the exchange of ideas we’ve had in this forum over the last few days. Up to this point I’ve written mostly about what I see as well-intentioned but, in my opinion, questionable remedies to the problem of non-diverse orchestras, namely affirmative action at auditions and tying programming to racial statistics. If I’ve left the impression that I thought all was well in the orchestra world in regards to diversity, let me assure you this is not my opinion. I think all of us on this panel want the same thing: culturally diverse orchestras and culturally diverse audiences. Our differences lie in how we propose to get there.

Rather then looking for a quick fix, I propose examining the root of this issue. In addition to my position with the symphony, I’m also a member of the San Antonio Brass, a quintet of musicians from the orchestra. Thanks to the amazing vision and dedication of our tubist Lee Hipp, we’ve begun three separate programs that, with the help of city grants and private sponsors, bring free, quality music education to students from the poorest neighborhoods in San Antonio (read more about it here: www.sabrass.org ). The vast majority of the students we work with are Hispanic. The most exciting thing about our programs is that, rather than simply playing educational concerts for these students, we teach them to make music together in chamber ensembles. We are fortunate in San Antonio that even the poorest schools have band programs that are able to provide students with instruments. However, these students usually receive no one-on-one instruction. Our programs give them access to instruction from the top professional brass players in the city. Also, as these students work together in the chamber music setting, they face the responsibility of playing their own solo part and the challenge of working out musical problems with their peers. The result is that they begin to see the process of making music in a completely new way. Maybe a few of these kids will be inspired to explore the possibility of a career in classical music. But hopefully all will carry their new found appreciation for music with them for the rest of their lives.

In San Antonio, as in most large cities, the Hispanic and black populations are disproportionately poor. When one considers the cost of instruments, lessons, youth orchestra tuition, etc., one realizes that there are major barriers in getting many of the most talented young minorities into a position where they can even consider a career in music. If we hope to increase diversity in our music schools (and eventually, our orchestras), we have to get the necessary resources to student musicians in these communities. I would like to see both orchestras and conservatories develop programs that identify talented students in the poorest neighborhoods and provide them with quality instruction and performance opportunities. This is what we are trying to do with the San Antonio Brass and the results have been promising so far. But in my opinion, the most exciting story in classical music right now is Venezuela’s “Sistema,” which has implemented this strategy with astounding success. For those who don’t know about it, click here.

Incidentally, my fellow panelists will be interested to know that last night my orchestra, the San Antonio Symphony, in collaboration with San Antonio College, presented a free program that featured music of Michael Abels (an African-American) and Alice Gomez (a Hispanic AND a woman). I’m happy to report that we had a full house that appeared to be at least 50% black and Hispanic.