Orchestrating their own survival

By TARA WERNER

Over the years performing arts groups have come and gone in an ever-changing cultural mosaic. Auckland's performing arts scene is clearly the result of survival of the financial fittest. Yet there has been one clear success story in this Darwinian-like landscape.

On Friday night the Auckland Philharmonia celebrates its 21st birthday with a special anniversary concert. It's an important rite of passage for the city's primary symphonic group.

So why has the orchestra been such a resilient survivor? Things were not easy when 19 musicians banded together in 1980 after the collapse of the Symphonia of Auckland to form a fledgling orchestra. Nor for that matter are they any easier today, in terms of regular funding.

But certain themes emerge that point to how the musicians and management team have orchestrated their continued existence. According to Michael Maxwell, the orchestra's first manager in the early-80s, one of the main problems at the beginning was credibility.

"The previous orchestra had wilted under financial mismanagement and we had to prove ourselves to a number of very sceptical people in the community. My first job was to get the funding back to a reasonable level from the then Queen Elizabeth II Arts Council, as well as obtain support from local councils."

He remembers well the first eight concerts, played to only 400 people in a cold and depressing Town Hall. But the gutsy determination of the musicians and the pride in what they were doing meant they came though this bleak period.

This camaraderie was the result of a fundamental decision - the musicians ran themselves by creating an incorporated society with its own constitution, with management appointed by the musicians.

The society has proved remarkably hardy, and a fundamental cornerstone to all decision-making, whether in programming or the appointment of players. The benefits of being a self-governing orchestra mean there is always commitment from the musicians.

It's a system that works well, according to general manager Anne Rodda. "It means we focus on what we are there for - the artistic product. Music is always at the centre of what we do. As a manager I find this very satisfying - it's a small orchestra and the musicians and management team enjoy what they do. There's mutual respect," she says.

Cooperation seems to be the strong factor with the orchestra, including marketing or sponsorship, and much development in recent years has gone into building close relationships with subscribers and sponsors.

At the heart of the orchestra's business success is the high level of commitment by a network of four voluntary groups - the Board of Advisers, the Auckland Philharmonia Guild, the Auckland Philharmonia Friends and the Auckland Philharmonia Foundation, which assist a professional management team.

Marketing manager Christine Young says: "Friends are the key champions of the orchestra. The guild and foundation members serve a slightly different purpose - they have wide networks in the business community and are excellent in fundraising. They are our advocates at a sponsorship level. The board of advisers also give tremendous amounts of their time and provide the necessary business skills, so important to the running of the orchestra."

But above all, programming has been vital to the orchestra's survival. Even back in 1996, the orchestra's magazine mentioned "Our programming philosophy is to include at least one old favourite - a piece of music that has truly stood the test of time in each concert - complemented by rarely heard and innovative works, including world premieres".

This philosophy has continued under the artistic directorship of music director Miguel Harth-Bedoya. He and the management team have been as good as their word and, in turn, the orchestra, which regularly attracts full houses, has the support and loyalty of concert-goers.