Camerata Musica: Bringing music to the masses

Fast forward to the fourth Saturday in September as 275 to 300 people gather in the Battelle Auditorium for the opening concert of Camerata Musica’s 49th season. We don’t know who the musicians will be, but everyone there is confident that it will be an exciting, enjoyable program. Afterwards, as musicians and audience mingle in the lobby, no one, except Camerata’s Board, will know how much work went into getting to that point.

Camerata faces challenges every year– organizational, financial, artistic. As a performance presenting organization, our most critical issue is finding the musicians; getting that right makes the difference in whether or not people will support the series with both their presence and their pocketbooks.

September seems very far away. Recent efforts have been focused primarily on ensuring that the current season runs smoothly, but we’ve already taken the first steps to prepare for the following one. We’ve reviewed this season’s donations to date to evaluate prospects for the next one, and the artists’ budget is set.

In mid-January, a committee began searching for the right mix of soloists and small ensembles. Camerata presents a broad range of chamber music, so we think carefully about groups who have performed for us in the past, how they were received and which new groups we can introduce to our audiences. What should the series look like? Are there combinations that haven’t appeared recently? How long since we heard brass? A piano quartet? Are there specific past performers we want back? What new groups have asked to perform?

The winnowing process is hard, although the Internet has made it easier. We can find information about musicians from all over, and they can find us. We receive emails throughout the year and save them for review. A lot of CDs and YouTube videos are reviewed, and we start to put together our wish list.

The committee works by consensus; one unenthusiastic response is usually enough to remove a name from consideration. As we start contacting artists and agents, a juggling process kicks in. The easiest performers to eliminate are artists from overseas who need visas but do not have agents experienced in dealing with the legalities. We simply don’t have the time, expertise or funds to do that ourselves. We try to find out who will be touring in the west, which can lower travel costs. Will their schedule fit ours, which generally features concerts on the fourth Saturday of the month? Can we change our dates? Often two groups, both of whom we want, are only available at the same time. Tough choices are made (but the loser may be considered the following year.) Where are they coming from? How do we factor in winter travel? Do we dare book groups traveling over Snoqualmie Pass in the winter? Is the stage big enough to accommodate a large ensemble? Are there special instrumental requirements–second piano? Organ? Is there an alternate location that could accommodate those needs? Can we get enough volunteers to house members of a large ensemble for multiple days?

Not surprisingly, artists have their own concerns: What is Camerata? Is it reliable? How can they get to Richland? Can they easily get to their next engagement from there? How will they be treated during home stays?

This process goes on for weeks or months; eventually issues are resolved and the series is set. There’s still paperwork to deal with–contracts, publicity, grant applications–but the critical decisions are done. Come September, we’ll feel confident that once again Tri-Cities audiences will respond favorably to what we are presenting.

This story was originally published March 23, 2017 at 12:00 AM with the headline "Camerata Musica: Bringing music to the masses."