1. Ten out of 10:
A Case Study in Artistic Planning
Gale Mahood
Director of Planning and Orchestra Management
2. Royal Scottish National Orchestra
Scope of Activities: cities in Central Belt
Glasgow & Edinburgh
18 Season concerts
3 Naked Classics
2 weeks of Primary and Secondary Schools concerts
2 weeks of Festive programming (Christmas and New Year)
3 Chamber Music series concerts
2 Children’s Classic Concerts
plus
Glasgow only Edinburgh only
Kelvingrove Concerts 2 Edinburgh Festival
2 weeks of Monster Music
St Andrews Party
3. Royal Scottish National Orchestra
Scope of Activities: cities outside Central Belt
Dundee
3 Season concerts
1 Naked Classics
1 Festive (Christmas)
2 weeks of Primary and Secondary Schools concerts (every 3 years)
Aberdeen
2 Season concerts (as part of 9-concert series with SCO)
1 Naked Classics
1 Festive (Christmas)
2 weeks of Primary and Secondary Schools concerts (every 3 years)
Perth
2 Season concerts (as part of 6-concert series with SCO and BBC SSO)
2 weeks of Primary and Secondary Schools concerts (every 3 years)
Inverness
1 Season concert (as part of 5-concert series promoted by Eden Court)
4. Royal Scottish National Orchestra
Scope of Activities: towns and regions
Langholm
1 chamber orchestra concert
Forfar
1 Glamis Castle concert (outdoors)
Orkney
3 concerts and conducting course (every 3 years)
Out and About (different region annually)
Dumfries and Galloway
Argyll and Bute
Angus
Perthshire
Aberdeenshire
Shetland
6. Ground Rules for Responsible Programming
Nothing succeeds better than great music.
Give importance to each piece.
Lead taste.
Aim for audience comfort levels, minus one.
Add spice, little extras, something unexpected.
Agonise, agonise, agonise.
Passion and belief are contagious.
7. The “Chicken in Every Pot” Programming Philosophy
Larsson En vintersaga (A Winter’s Tale)
Grieg Piano Concerto
Tchaikovsky Symphony No.1 “Winter Dreams”
Dutilleux Symphony No.1
Rachmaninov Piano Concerto No.4
Stravinsky Firebird Suite (1919)
Bartók Hungarian Peasant Songs
Bartók Violin Concerto No.1
Mahler Symphony No.5
8. The “Chicken in Every Pot” Programming Philosophy
Grieg Peer Gynt Suite No.1
Sibelius Violin Concerto
Rossini William Tell Overture
Respighi Pines of Rome
Beethoven Egmont Overture
Beethoven Piano Concerto No.5, “Emperor”
Brahms Symphony No.4
Beethoven Fidelio Overture
Grieg Piano Concerto
Tchaikovsky Symphony No.5
9. The “Chicken in Every Pot” Programming Philosophy
Dukás La Péri
Ravel Shéhérazade
Debussy Prelude to the Afternoon of a Faun
Schmitt La tragédie de Salomé
Turnage Drowned Out
Mozart Piano Concerto No.12, K.414
Stravinsky Symphony in Three Movements
Denisov Bells in the Fog
Myaskovsky Silentium
Shchedrin Concerto for No.2, “The Chimes”
Rachmaninov The Bells
10. Ten out of 10: The Works
MacMillan Three Interludes from The Sacrifice
Connesson Aleph
Saariaho Orion
Grime Virga
Lindberg Graffiti
Knussen Violin Concerto
Salonen Insomnia
Rouse Rapture
Lieberson Neruda Songs
Adams Transmigration of Souls
11. Ten out of 10
Bringing the full organisation on board: staff ideas
12. Ten out of 10
Bringing the press and public on board
13. Ten out of 10
Bringing the press and public on board
http://vimeo.com/10532429
14. Ten out of 10
Bringing the press and public on board
15. Ten out of 10
Feedback from the press
“Nearly 30 years ago it was the case that the mere inclusion of a modern
work at the top of an SNO programme would result in empty seats. Even
when an audience did turn up and steeled themselves to get through the
horrible bit because they wanted to hear the Sibelius symphony in the
second half, the disinterest in the modern piece was tangible to the point
of embarrassment.
The orchestra didn’t exactly help matters: you could almost feel the aura
of antipathy emanating from the ranks. And thus grew the culture of the
now-RSNO as being seriously not your symphony orchestra for modern
music. A former chief executive had a go at tackling the issue in a
Discovery series; but ultimately that got nowhere. This one feels different.
The attitude is different, the presentation is different and the whole
ethos is different.”
The Herald
16. Ten out of 10
Feedback from the audience
“I was uncertain about the series but Stéphane is to be congratulated
on giving us these works. Connesson is a find! More
please. Lindberg's Graffiti was an exciting and difficult sing, handled
very well by the Chorus. I hadn't heard of Knussen and was pleasantly
surprised. The Naked Classics look at Insomnia was the ideal way to
come to this piece for the first time – it made sense of it all, and made
it enjoyable. The Neruda Songs were very moving. The John Adams last
night just blew me away – unusual, poignant, emotional, atmospheric,
and beautifully handled by orchestra and choruses – as it is tied in so
much to a particular event I hope orchestras will not consign it to
library shelves.
I didn't hear all the Ten and, despite my initial reservations, I am so
pleased to have been led into new areas of music experience.”
17. Ten out of 10
A few statistics…
Edinburgh Glasgow
Average Attendance 10:11 Season: 1619 1560
Avg. for concerts including a Ten out of 10 piece: 1527 1470
Avg. for concerts not including a Ten out of 10 piece: 1700 1641
However…
Average Attendance 09:10 Season: 1512 1458
Meaning in the 10:11 Season attendance increased by: 7% 6.9%
And…
Average ticket sales for Ten out of 10 concerts exceeded average ticket sales for the
previous season.
18. Ten out of 10
Follow up
MacMillan Three Interludes performed at BBC Proms and at the
Gewandhaus in Leipzig in 2010 and 2011, respectively.
MacMillan’s Third Piano Concerto and clarinet concerto Ninian
planned for 2013:14. Future commissions for 2014:15 and 2015:16
seasons.
Gave UK premiere of Lieberson’s Songs of Love and Sorrow in
2011:12.
Co-Commissioned Saariaho’s Circle Map with the Concertgebouw,
Boston, Stavanger and Gothenburg Symphonies and the Orchestre
National de France. Scheduled for UK premiere in 2013:14.
Performing and recording Adams Harmonielehre and Doctor Atomic
Symphony in 2012:13.