How can an independent amateur choir survive in an increasingly competitive marketplace? Simon Ible gives some advice.
Choral singing has been, for some 150 years, one of the mainstays of local music-making and entertainment in the rural regions of Britain. As Director of Music at the University of Plymouth and musical director of several singing and orchestral ensembles around the Devon and Cornwall region, I am aware of the activities of the region’s numerous choral societies – and some rank among the best in the UK. Many towns with a population of just 2,500 boast their own singing group, with groups numbering between 14 and 50 members. The larger towns and cities in the South West such as Plymouth, Truro and Exeter accommodate regional choirs of up to 150 as well as specialist chamber groups performing a wonderfully diverse repertoire.
However, many of the smaller outlying choral societies struggle to survive. On several occasions over the past 15 years, I have been invited in as a troubleshooter to ‘save’ or at least revitalise such groups. Some of the issues they have been facing have included ageing choruses with dwindling membership and audience, unsuitable repertoire, a recently retired musical director, poor finances, weak administrative infrastructure and inadequate publicity. These factors have often combined to generate a lack of motivation in members and communities.
Management matters
In setting up or maintaining a small amateur choir, the first port of call I would recommend is Making Music (the National Federation of Music Societies – www.makingmusic.org.uk). It offers a wide range of training and support opportunities designed to help its members be effective. These include guidance in administration, promotion of events, commissioning new music and taking part in national initiatives such as the ‘Listen Up!’ festival and their adopt-a-composer scheme. National and regional training programmes are also promoted by the Federation to help groups with their marketing, fundraising and project development. Members are encouraged to look to the future, both in terms of responding to the needs of the community in which they are situated, and of meeting the needs of their members, past, present and future. Most choral societies will already be members but some may have lost touch with the current benefits that Making Music has to offer.
Establishing a strong committee is another must. By identifying those members of the choir who can offer skills in basic financial management, record-keeping, communication and organisation management. Encourage, cajole and convince them to undertake this work for the choir and to commit their time for a year.
As for promoting concerts, well written press releases to the local and regional media, posters, banners, announcements on regional radio and television, listings on What’s On websites are all standard and cannot be overlooked. However, face-to-face selling is, as ever, the most effective way to sell tickets. Direct mailing through a regularly updated and targeted database is also important. I would suggest that handing out forms at concerts inviting people to add their names to the mailing list is a good start. Feedback is valuable; include a questionnaire asking for responses on the various aspects of their experience of the evening – What music did they most enjoy? How did they like the venue? Did they make use of the town’s facilities (pubs, cafes and shops)? This kind of information can often be useful for funding applications. Developing a choir website is becoming ever more popular and effective, and again Making Music can offer advice on this.
Programme and partners
How can you reactivate the choir musically? It is important that the singers receive praise for a good performance. Choose a repertoire for the next performance that is well within its capabilities and invite everyone involved to a big party afterwards! The choir will sing well and with confidence: the audience, however small, will respond positively. Ensure the concert is reviewed in the local press. Celebrate this success.
Orchestra and soloists: I strongly believe that the very best players and soloists should be contracted. This raises the standard of music making and motivates the choir to work hard at its performance and at selling tickets. It is not always necessary to attempt Elgar and Verdi with a 40 to 50-piece orchestra when there is so much early and classical music, which is uplifting and fulfilling. Why not employ just 20 top ranking orchestral players. The success of a higher calibre performance will stimulate an enthusiasm to sustain this quality and this might motivate the members to address fundraising.
On a final note
Advice to new musical directors: So much can ride on the personality and music interests of the conductor and his or her connections in the local, regional and national music scene. Being well prepared for rehearsals and concerts should go without saying… and if you are new to the job these are essential. It helps to have a sense of fun. I also always make a point of being secure on translations of foreign texts before rehearsals begin. And something I always avoid is the issue of the ‘ladies’ concert dress. I recommend if this comes up on the committee agenda, have it moved to the very end of the meeting and make a swift exit!
Simon Ible is Director of Music at the University of Plymouth. t: 01566 783138;
e: simon.ible@plymouth.ac.uk