Reflecting on My ACSO Internship: Highlights from the 2024 Annual Conference
By Luc Edouard Eldridge, ACSO 2024 Conference and Marketing Intern
This past summer, I had the opportunity (pictured here) to join the Association of California Symphony Orchestras (ACSO) as the Conference and Marketing Intern and help put on ACSO's 2024 Annual Conference in San Francisco. I’m currently a student at the University of Southern California studying Composition. I’ve been in music spaces for the majority of my life, as I began playing piano at a young age and have played clarinet for many years. Although I have a background in music, it was interestingly my first time attending a professional conference centered on orchestra management.
At the conference, I was astonished by the sheer variety of roles represented by these passionate music professionals. As a young musician and a composer, I was totally unaware of the myriad of duties that are crucial for running an orchestra. Positions such as community outreach, marketing, HR, and fundraising were all professions that I didn't realize were within the orchestra administration world. While the youth orchestra scene is very much alive in California, in my experience, there's a noticeable lack of exposure to young musicians about these diverse career paths.
One of the breakout sessions I attended, titled “Pipelines of Possibility: How to Bolster the Path from Student to Orchestra Administrator,” addressed this issue directly. Ron Gallman, Director of Education and Youth Orchestra for the San Francisco Symphony, discussed how their youth symphony program provides paid internships for its musicians to learn about orchestra administration. High school students not only have the chance to earn money for their efforts, but also gain insight into the administrative responsibilities of their conductors. One panelist, Laura Bergmann, benefited from this internship program while she played in the San Francisco Symphony Youth Orchestra, and she went on to become the Associate Director of Advocacy and Community Engagement for the San Francisco Symphony.
Reflecting on my own experiences as a past member of a youth ensemble, I wish there had been more opportunities like these. It’s refreshing to see youth orchestras stepping up and providing pathways for students to explore various aspects of classical music beyond performing, composing, or conducting. Therefore, it is important that these opportunities exist within our community, so that future generations of classical musicians have a clearer understanding of the various paths within the industry.
Another session that particularly resonated with me was Aubrey Bergauer’s keynote speech on the evolving landscape of orchestras. She emphasized the importance of needing to “change the narrative” surrounding arts organizations, which is crucial given the challenges they face in the 21st century. She highlighted that orchestras are increasingly undercapitalized, experiencing shifts in valuation by their audiences, and grappling with internal systemic issues. She was calling on the orchestral industry to operate “like a business” to address these challenges effectively.
Throughout her keynote, Aubrey proposed several strategies for improvement: valuing user experience, bolstering advocacy efforts, and improving digital content. As a younger musician who’s interested in the future of this industry, it is encouraging to see dedicated efforts and innovative approaches aimed at reshaping and revitalizing classical music spaces. To gain a deeper understanding of Aubrey’s keynote speech, I recommend watching the full recording available here.
In short, the sessions that I was able to attend during my time at the annual conference were truly eye-opening and enriched my understanding of what it really takes to run an arts organization, particularly in the orchestral world.
Being given the opportunity to connect at the conference with many talented musicians such as John Wineglass and Kev Choice was another notable highlight for me. They emphasized the importance of maintaining authenticity and encouraged me to embrace new and innovative approaches in my compositions. Additionally, as a Black American, seeing familiar faces in spaces where we’re not often represented gave me a sense of encouragement and hope for the diversity of American orchestras. You can view Kev's powerful keynote conversation here.
Between sessions, I had the opportunity to explore San Francisco, a city I was visiting for the very first time! It was a delightful experience, and witnessing a performance by the San Francisco Symphony (SFS) at the historic Davies Symphony Hall truly elevated the visit. On the first night of the conference, conference attendees gathered to enjoy a captivating performance by the San Francisco Symphony. The program featured Tchaikovsky’s Symphony No. 4 alongside Barber’s Violin Concerto, followed by a post-concert reception for all conference attendees. I'm pictured here at the reception check-in desk with some of my ASO staff colleagues.
On Saturday, the last night of the conference, the SFS was joined by the amazing Ben Folds for a great performance of his songs. It had been a while since I last attended an orchestral performance in a concert hall, so experiencing these two amazing concerts - featuring such a distinguished orchestra - was unforgettable.
My summer with ACSO has been nothing short of fantastic, and I’m so grateful to the ACSO staff team (pictured below), especially Sarah Weber, Julia Dean, and Alex Opsahl, for their warm hospitality and support. Thank you all for making this internship experience unforgettable!
About the Author
Luc Edouard Eldridge, 19, is a composer, multi-instrumentalist, and songwriter based in Los Angeles, California. He’s currently pursuing a bachelor’s degree in Classical Composition at the University of Southern California Thornton School of Music, studying with GRAMMY-nominated and Pulitzer Prize-finalist composer Andrew Norman.
Luc was ACSO's summer 2024 Conference and Marketing Intern and his internship was generously supported by a grant from the Los Angeles County Department of Arts and Culture.
