Orchestral manoeuvres

These issues have led many who were otherwise not involved in the talking about the JPO to ask the question: “What is the role of orchestras in large cities?” “They’re communication assets,” Stansell states.

“There’s a cliché that music is the universal language, and that it goes beyond words. But with classical music, there’s also an historical link to treasures that continue to speak to us.”

How does funding generally work?”Ideally,” says Stansell, “there’s an endowment fund, either from government or from private funders, which allows orchestra members to live off the interest and make further income without depleting the capital.”

She pauses before continuing.”In many other countries the government is involved, but in South Africa there are currently more urgent needs elsewhere. Though sometimes the available money is not well spent, which is unfortunate.”

Every time there’s an announcement about the JPO or any similar body needing to shut down there’s an uproar, but is asking for more cash simply becoming too difficult? There must be “giving fatigue” outside of the orchestra, and “administration” fatigue within, surely?

“Nowadays, an orchestra needs to be out there and relevant. Playing a symphony is the highest art we can create, but we have to be willing and able to break into smaller groups and play different things. For instance, a smaller group will be playing at the Nedbank Challenge golf this year. And recently we accompanied some dancers and acrobats in a show called Cirque Du Symphony.”

In such a large group of people, is it each individual’s responsibility to stay motivated, or does everyone look towards certain leaders within their ranks? “One of our guest conductors this season is Daniel Boico, the assistant conductor at the New York Philharmonic,” says Stansell.

“He said to us that every musician who does what we do around has heard of our situation, which is special. We all know what it’s taken to get to this position a huge investment in time and practice and recognition of that and why we did that is important. Beyond that, we can’t help ourselves; if we’re playing, we’re happy.

“Our conductors provide the electricity for our performances, and the board needs to keep planning well. Everyone plays a role it’s never a neutral experience.” Budget constraints sometimes mean that guest soloist or conductor appearances are limited, which can be a good thing for local musicians who might not otherwise get an opportunity. What are the other considerations in this area?

“At the beginning of this year we had a season with only South African soloists and it was very successful,” says Stansell.

“But in a symphony season, a high percentage of the people who come to listen are subscribers. They know the music and the big names, and they want drawcards. Big stars soloists and conductors equal big money. They fill the house and help cause a buzz.”

In repertoire terms, simple marketing strategy says that playing the hits will get bums on seats, and indeed, in the current JPO season, each concert has at least one immediately recognisable piece (the William Tell Overture say) in the line-up.

“That’s necessary,” says Stansell, “but you need to balance the hits with stretching the core audience. If you only play Beethoven’s Fifth, they won’t come.” How does choosing specific pieces for various instruments work? Who decides to highlight the violin, or the French horn or, indeed, the oboe?

“You can play to an orchestra’s strengths,” Stansell says. “And it makes sense to combine pieces where the orchestration is, broadly speaking, the same. Otherwise you have one instrument coming in to play 12 bars the whole concert and that person still needs to be paid.”