The Boston Symphony Orchestra (BSO) faces a critical challenge as it seeks to address a steady decline in audience numbers, despite recent resolution of internal disputes over leadership and contracts. With a new three-year agreement in place between musicians and management, the organization now turns its focus toward revitalizing its patron base amid shifting cultural trends that affect orchestras nationwide.
In exploring potential solutions, attention has turned to the South Dakota Symphony Orchestra, a smaller ensemble that has gained national recognition for its unique approach to community engagement. Led by longtime music director and conductor Delta David Gier, the South Dakota Symphony, with just nine full-time musicians, has cultivated a reputation for successfully integrating local communities into its programming. Critics and major publications have lauded Gier’s efforts, describing the orchestra as deeply connected to the people it serves and transformative in its regional impact.
Gier’s strategy centers on understanding the cultural fabric of South Dakota. Early in his tenure, he prioritized listening to local populations, including Native American communities, whose initial skepticism led to the development of the Lakota Music Project. This collaboration between the symphony and Lakota musicians produced new works and a touring album, illustrating Gier’s commitment to co-creation rather than top-down programming. The project exemplifies how tailored efforts can foster trust and elevate the orchestra’s community role beyond traditional concert experiences.
Moreover, Gier emphasizes the importance of living within the community to build lasting relationships. Unlike some conductors who divide their time between multiple orchestras or residencies abroad, Gier and his family relocated full-time to South Dakota soon after his hiring. He contrasts this model with leadership at larger orchestras, including the BSO, where the current music director, Andris Nelsons, resides primarily in Europe and commutes for performances. This situation has sparked tensions within the BSO, with some musicians expressing frustration over Nelsons’ absence and the decision to end his tenure after the upcoming Tanglewood season. BSO CEO Chad Smith has cited the need for locally grounded artistic leadership as a factor in this decision.
Programming choices at the South Dakota Symphony reflect a blend of innovation and tradition that aligns with community interests. Gier incorporates works by Pulitzer Prize-winning composers, often featuring conversations between composers and audiences. The orchestra also commissions pieces that reflect the diverse cultural groups within the region, such as works by Filipino and Guatemalan composers, responding directly to Sioux Falls’s demographic makeup. Executive Director Jennifer Teisinger describes this approach as balancing established repertoire with new music while maintaining meaningful connections to potential audiences.
Despite differences in scale and resources between the South Dakota Symphony and the Boston Symphony Orchestra, Gier believes lessons about community engagement and leadership could be instructive. He suggests that orchestras must understand and build relationships with their local populations to sustain relevance. Gier, who admires the BSO’s stature among America’s “big five” orchestras, remains optimistic about its ability to reconnect with audiences and sustain its cultural prominence. Drawing parallels to Green Bay’s passionate attachment to its NFL team, he envisions a future where symphonies become sources of local pride that transcend mere entertainment.
As orchestras across the country experiment with new programming formats, community partnerships, and outreach models, the contrasting experiences of the South Dakota Symphony and the Boston Symphony highlight broader questions about how classical music institutions can evolve to remain vital in the 21st century.