Chatham Baroque Is a Successful Arts Business Model

By Kanny, Mark | Tribune-Review/Pittsburgh Tribune-Review, March 15, 2012 | Go to article overview

Chatham Baroque Is a Successful Arts Business Model

Kanny, Mark, Tribune-Review/Pittsburgh Tribune-Review

In December 2010, the 20-year-old Chatham Baroque ensemble made its Heinz Hall debut on a program devised by Pittsburgh Symphony Orchestra music director Manfred Honeck. The conductor wanted to precede performances of Giuseppe Verdi's "Requiem" with spiritual music from the Italian baroque tradition that Verdi knew well.

"It was a symbolic thing for our organization to have that sense of arrival by playing at Heinz Hall and being presented by the Pittsburgh Symphony," Chatham Baroque violinist Andrew Fouts says. "What really struck me was that we got so many comments after that weekend. We do a lot of concerts, but the fact that the symphony plays in such a large hall meant we reached so many people who just loved our instruments and thought they sounded fabulous."

Chatham Baroque has been a mission-driven ensemble from its beginning. It champions early music performed on period instruments - - baroque violin and viola da gamba rather than modern violin or cello, for example.

The ensemble has a long-standing relationship with Pittsburgh Opera, with which it has performed a half-dozen baroque operas by Claudio Monteverdi, Francesco Cavalli and George Frideric Handel.

"I love them," says Christopher Hahn, Pittsburgh Opera's general director. "I was thrilled when I got to Pittsburgh to learn about them, because they make it possible for me to have the company explore baroque repertoire with real depth and professionalism."

Pittsburgh Opera singers learn a lot from the Chatham Baroque musicians, Hahn says.

"They are completely nondoctrinaire, very in the moment, fascinated to play around the singers and meet them where they are in the rehearsal process," he says. "I will always search out future ways to work with them because they are such good partners."

Unique business model

If survival is success in the arts -- as Pittsburgh New Music Ensemble founder and composer David Stock likes to say -- then Chatham Baroque has succeeded with what might be a unique business model for chamber-music ensembles. Its musicians receive an annual salary and health benefits.

"I worked at Chamber Music America before joining this group," executive director Marc Giosi says. Chamber Music America is a national association of professional chamber-music groups, which is based in New York City. "I've been scratching my head to think of another chamber-music group, let alone early-music group, that has this structure behind it -- aside from a string quartet in residence at a university."

Chatham Baroque's budget for 2011-12 is $323,000. It has four full-time employees -- three musicians and the executive director. Each musician's salary is $37,500. The current lineup includes Fouts, Patricia Halverson on viola da gamba and Scott Pauley on fretted instruments

"We have a diverse revenue stream. We're not overly reliant on any one financial pillar," Giosi says. The Heinz Foundations and the Pittsburgh Foundation have supported Chatham Baroque from its first year.

Income earned from performances will account for about 20 percent of the budget this season. Public contributions, from corporations, foundations and government, will contribute 42 percent of the budget. Personal contributions, including from board members, will account for 18 percent. Development events, such as the annual 12th Night Gala, will add 11 percent.

The business model makes a world of difference for Fouts. "It allows me to really focus on projects and directions that speak to me a lot," he says. "Freelance musicians find themselves doing work that may help pay the rent but doesn't speak either to their training or aspirations. I certainly did before Chatham Baroque."

The musicians are involved in all aspects of Chatham Baroque's operations, and work together to plan seasons and projects, but might split up for library research and score preparation. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Cite this article

Cited article

Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Chatham Baroque Is a Successful Arts Business Model


Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

    New feature

    It is estimated that 1 in 10 people have dyslexia, and in an effort to make Questia easier to use for those people, we have added a new choice of font to the Reader. That font is called OpenDyslexic, and has been designed to help with some of the symptoms of dyslexia. For more information on this font, please visit

    To use OpenDyslexic, choose it from the Typeface list in Font settings.

    OK, got it!

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search


    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.