Ever wonder how we decide what music to play each season? Behind every concert you attend, there's a fascinating and exhuastive process that brings together artistic vision, community input, and a whole lot of passionate discussion. Let's pull back the curtain on how Symphonicity crafts each season's musical journey in this 7-part series!
Part 1: Who's Actually Making These Programming Decisions? ←You Are Here!
Part 2: How Do We Actually Pick the Music?
Part 3: How Do We Choose Guest Artists and New Composers?
Part 4: How Do Community Interests Shape Our Programming?
Part 5: What Surprising Things Influence Our Process?
Part 6: Fun Facts About the 2025-26 Season Choices
Part 7: The Heart Behind Every Decision
PART 1: Who's Actually Making These Programming Decisions?
It's definitely not just one person sitting in a room picking their favorite pieces! Our programming process is beautifully collaborative, involving multiple voices and perspectives.
As Music Director, I lead the artistic vision, but the deadlines are demanding. I have to meet December deadlines for our orchestra groups and board committees to review proposals. Collectively, we have to meet February deadlines for grant submissions and marketing agency production. Guest artists, in particular, need their schedules confirmed at least a year or more in advance. Here's how it breaks down:
The Two-Season Horizon
I have to start thinking two seasons ahead, which is about 24 to 18 months in advance. In practical terms, that means that in the current season, I'm putting the final touches on plans that I first started socializing during last season. And after I'm done planning next season, while still performing the current season, I have to start thinking about the season after the next one! Confused yet? It's a never-ending chase and delicate process—but I love it and feel privileged to do it!
I often say that I "suffer" through the programming process because it takes me many months and countless hours of back-and-forths, yes or nos, and maybe or maybe nots, just to create an almost-close sketch. Even after that, getting feedback from others sometimes requires me to go back and rework entire concerts or even the whole season! I spend hours listening, looking at scores, going through my notes, comparing details, and researching-researching-researching!
Some have said that I lean toward innovative and dynamic ideas that break the mold in symphonic programming. I don't disagree with that depiction! But I also try to maintain a strong sense for what will resonate with our audiences. Our audience surveys indicate a high level of satisfaction so far with what we offer.
The Artistic and Repertoire Group
Throughout the year, I work closely with key orchestra members who make up our Artistic and Repertoire Group of approximately 12 members. They provide ongoing suggestions for future seasons and review all of my current proposals.
Key principals from each "choir" of the orchestra (strings, woodwinds, brass, and percussion) often provide insightful feedback on whether the proposed programming is well suited to the skill level of their rosters and whether it will be musically satisfying. Other members represent a diversity of thought with the intentional inclusion of different demographics, experience levels, and varied tenures within our organization.
Discussions also relate to what programming may be most effective in outreach, audience development, and marketing. Since these elements are all intertwined, it's smart to rely on the diversity of this team to ensure we are avoiding blind spots and biases while also optimizing our potential options for success.
A Collective Vision
Of course, I also consider feedback from our Board of Directors, who guide the overall strategic vision of our orchestra, our staff, who implement our policies and processes, and peers and associates of mine (such as our Chorus Master!) with opinions I trust and value to include influential minds from the Virginia Beach arts community. We've found that when everyone has a voice in the conversation, we create seasons that have the potential to truly inspire both our performers and our patrons. As Music Director, it's not about ME but all about WE!
The coolest part? Since we're made up entirely of community musicians, our players bring incredible diversity to the discussion. We have teachers, engineers, retirees, college students, and professionals from every walk of life. The breadth of unique ideas they offer both inspire me and challenge me to discover new avenues of fruition.
And what if there is a major disagreement? Well, I have to admit, we haven't had one since I arrived in 2017. Perhaps that's because I'm amiable to the feedback that I receive. I also think it's because everyone I work with trusts my experience and the tremendous amount of effort I put into the initial proposals, to include the inclusion of ideas already submitted to me.
Most of the feedback is about one or two pieces here or there, or just a consideration about this or that. I will say that there was at least one time when our concertmaster told me "there might be a mutiny!" if I stuck with one of the pieces. And so, as any good music director would do... I kept it (!) but with a totally different arrangement and collaboration plan, which seemed to win over most!
Before it's all said and done, the Board of Directors has the final say, including if there is any major disagreement, and particularly with any non-musical caveats including the associated budget. And with that final green light, we start including the season details in our grant applications in Februrary. We also send the information to our marketing team by March. It will only be a matter of time before we are printing brochures in April and selling season tickets by May.
Oh, and meanwhile, it's already time to start the whole process over again to think about the following season! In fact, usually by then, I already feel behind!
In part 2, I'll discuss how we select season themes, individual pieces of music, and our guest artists.
Thanks for reading and see you at the concert!
