Detroit Symphony starting to see results

It has taken 29 years, but the Detroit Symphony, a leader in diversity outreach, is beginning to see results for their massive efforts.

(The situation, of course, is the small percentage of minority musicians and audience members in orchestras, nationwide.)

After announcing the Cincinnati Symphony's new initiative supporting a minority youth ensemble, CSO Nouveau Chamber Players, shown, last week, I contacted Detroit to compare notes. Don't get me wrong -- I think the CSO is doing some fine work, including its Classical Roots concerts in churches, a partnership with Sphinx and "Open Door" Concerts. Here's what Detroit has done:

-- Issued a "Black Composers Series" on Columbia Records in the 70's
-- Founded the Civic Orchestra in 1970s led by Paul Freeman, to actively cultivate minority talent
-- 29 yrs of annual "Classical Roots" concerts that are part of the regular classical subscription series; presenting works by African-American composers including many world premieres and DSO debuts, and performed by African-American guest artists
-- Annual African-American composer competition, reading sessions and national symposium
-- Annual African-American Composer-in-Residence, with world premieres and commissions by that person
-- An African-American Fellowship Program
-- Two series of recordings on Chandos with all African-American composers
-- Continuous expansion of Civic Ensemble programs, with the goal of teaching 500 young people both classical and jazz at the orchestra's attached school
-- Educational collaboration with the Detroit School of Arts
-- Independent Black Composers Series re-release and a new recording with five world premieres by DSO African-American composers-in-residence
-- Classical Roots Annual Gala to support initiatives
-- Partnership and support provided to Sphinx Competition
-- Collaboration with African-American churches in Detroit for gospel/holiday concerts
-- Long tradition of minority leadership on conducting staff
-- Classical Roots Young Friends committee to generate support of young African-Americans in community

I asked the orchestra's spokesperson Jill Woodward if all of this is making an impact.

They have not done formal research about their audience makeup, but she says, "as someone who analyzes the faces at our concerts every weekend, I'd say yes. That doesn't mean we don't still have a long way to go. But I would say we'd probably stack up pretty well against any orchestra in the country for percentage of African-Americans in our hall for classical concerts (our jazz series is higher).

"The Fellowship program has a huge track record of success. We know where all the alumni are, and they all have jobs. Changing the demographic of the orchestra, as you know, can only happen at a glacial process ... So having 10-15 alums who are all now playing, including our own Principal Trombone (who won a blind audition) speaks for itself. This program finds the talented minorities out there, then gives them a true competitive advantage.

"We recruit heavily in the African-American community for our education programs, and those participating are about 25 percent minority. Those kids may not turn out to be professional musicians (although we've sent a few on to full scholarships -- a kid named Omar Butler to name one, to Juilliard) -- but no matter what, they are likely to be future concert-goers and better educated."