Development profiles

Development includes a wide range of positions and responsibilities including major gifts, individual giving, annual fund, foundation and corporate support, and planned giving officers and special events coordinator.

To view profiles, choose:

• By state, choose your state in the left hand menu
• Sorted by last name, below

 

Kathleen Anderson

Development Director
Stockton Symphony Association
Stockton, California
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Years in current position: 3
Years in the field: 3

Majors:
B.A. Sociology
M.A. Interdisciplinary Education

Additional Training:
Non-profit volunteer for 30 years

Career Path:
Ecology Research Librarian
Office Manager and Medical Technician
Community Relations Director, Barnes & Noble

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Alignment, constant change of staff, economic downturn, and loss of corporate support.

What inspired you to work for an orchestra?
Love of music, and the individuals on the board.

What advice would you offer to someone considering the orchestra field?
Trust you own instincts. Stay focused on a few primary goals. Do not let the board distract you from the primary focus of raising money.

Any other advice?
Get over the fear of raising money and relate to your patrons’ passion and love of music. Listen to your donors and respond to their needs.

 

Joan Claffey

Director of Development
Chicago Symphony Orchestra
Chicago, Illinois
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Time in current position: less than 1 year
Years in the field: 15+

Majors:
Undergraduate: Communication 
Graduate: Social Work

Additional Training:
Association of Fundraising Professionals, continuing education courses

Career Path:
Director of Development, American Library Association
Senior Director of Development, DePaul University 
Director of Council Relations, University of Chicago Graduate School of Business 
Director of Corporate and Foundation Relations, YWCA of Metropolitan Chicago 
Director of Marketing, Merchandise Mart Properties, Inc. 
Regional Director of Public Relations and Special Events, Bloomingdales

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Getting to know our dedicated and loyal donors—trustees, governing members, Society members, Woman’s Association members, etc.

What inspired you to work for an orchestra?
My love of classical music and the ability to raise money for one of the world’s best orchestras!
What advice would you offer to someone considering the orchestra field?
Joining the League immediately out of school.

Sandy Galin

Director of Development and Marketing
New West Symphony
Thousand Oaks, Oxnard, and Santa Monica, California
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Years in current position: 1.5
Years in the field: 15+

Majors:
Liberal Studies (elementary education) 
UCLA Extension: Fund Raising, Broadcasting

Additional Training:
Relevant database training
Meet the Grant Maker presentations
Association California Symphony Orchestra conferences
CASE (Council for Advancement and Support of Education) conferences;
Association of Fund Raising Professionals training programs

Career Path:
Professional Choral Musician, toured nationally and internationally and sang locally as a soloist and with ensembles (Roger Wagner Chorale, Norman Luboff Choir, William Hall Chorale, Carmel Bach Festival, San Luis Obispo Mozart Festival, Los Angeles Bach Festival, etc.)
Assistant to the Director of Alumni Development and Contracts and Grants, UCLA School of Social Welfare
Assistant Director, Annual Fund, Occidental College
Director of Development, Cal State University Northridge, Colleges of Humanities and Science and Math
Assistant Director of Development, College of Social and Behavioral Science and the University Library
Director of Advancement, Pacific Oaks College and Children’s School
Director of Development, CHIME Institute

What are the most surprising, interesting or challenging aspects of your day-to-day work?
It’s a joy to work for a musical organization where all employees are invested in making it a success. Challenging: We have one administrative assistant, so all directors do an amazing amount of multi-tasking, including writing direct mail solicitations and press releases; creating graphics for programs, cultivation, and marketing materials; producing and managing cultivation/fund-raising events; writing grants; raising funds from individuals/businesses; building audiences; securing sponsorships; arranging ensemble concerts (with the General Manager); inputting prospect and donor data; and more, including working with the board of directors and auxiliary leadership. 

What inspired you to work for an orchestra?
I thought it would be a wonderful match for my musical and development background.

What were the first steps in your professional career?
I took hands-on jobs so I could learn all the aspects of development, PR, community relations, and marketing. When I outgrew a position (or there was no where to move up), I moved on so I could keep growing my skills.

What advice would you offer to someone considering the orchestra field?
Try to intern for a non-profit in high school or volunteer while in college. If you let the executive or development director know you’re interested in working in the non-profit world, you will find an excellent mentor.

Any other advice?
Be organized and flexible.

 

Shelley Cohen Hershey

Development Director
Lancaster Symphony Orchestra
Lancaster, Pennsylvania
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Years in current position: 4
Years in the field: 4

Majors:
B.A. Art

Career Path:
Sales and Marketing

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Multi-tasking has taken on a whole new meaning.

What inspired you to work for an orchestra?
I wanted to work in the arts.

Would you do anything differently?
Beginning again, I would get a certification to teach.

What advice would you offer to someone considering the orchestra field?
Do this because you really want to make a difference, not to make a huge amount of money

Any other advice?
Look at the orchestra’s long-range plan

 

Carolyn B. Copp

Director of Development
Indian Hill Music
Littleton, Massachusetts
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Years in current position: 1
Years in the field: 7

Majors:
B.A., M.B.A., American Studies

Additional Training:
CFRE (Certified Fund Raising Executive)

Career Path:
20+ years corporate marketing in textbook, magazine, and newsletter publishing (Addison Wesley, PennWell, IDG Publishing)
Conference marketing, SoftBank Expos
Freelance marketing consultant
Director of Marketing (part-time), Boston Classical Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The variety of people, tasks, and issues I face each day.

What inspired you to work for an orchestra?
My lifetime love of music and desire to do something for the community.

What would do anything differently?
No. Sales is a great entry point.

What advice would you offer to someone considering the orchestra field?
Focus on communication skills.

Any other advice?
Do it for the love.

Linda E. Cubbage

Development Director
Bartlesville Symphony Orchestra
Bartlesville, Oklahoma
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Years in current position: 5
Years in the field: 22

Majors:
English

Additional Training:
Too many workshops and seminars to list

Career Path:
OK Mozart International Festival: Ticket Manager, Development Director, General Manager

What are the most surprising, interesting or challenging aspects of your day-to-day work?
It is always surprising, interesting, and challenging to see which members of our board’s development committee have the best new ideas and to see which members are willing to step up to the plate to make the new ideas work.

What inspired you to work for an orchestra?
I have learned over the years how important our symphony is to this community. When I retired from 20 years with the OK Mozart International Festival I jumped at the chance to do the same type of work on a part-time basis for the Bartlesville Symphony.

What were your first steps toward an orchestra career?
I fell into the career accidentally more than twenty years ago. I was a stay-at-home wife, mother, and community volunteer and had never worked outside the home. The OK Mozart International Festival was a new organization and the executive director asked me to take the job of ticket manager. It was a tiny, part-time job and the executive director was a personal friend, so I agreed. After a couple of years, the Festival’s development director moved out of town and the E.D. asked me to take over that job. I had no background but agreed to try it. I learned on the job and loved working with patrons, sponsors, and board members and have had my finger in development ever since.

What advice would you offer to someone considering the orchestra field?
Today there are college degrees in development and many, many continuing education programs devoted to the field. I would recommend following an educational path into the field. When I first went into development work I had to learn everything the hard way, through trial and error.
 

Jennifer Dieter

Director of Development
Fox Valley Symphony
Appleton, Wisconsin
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Years in current position: 1
Years in the field: 5+

Majors:
Philosophy

Career Path:
Associate Director of Annual Giving, Lawrence University
Development and Communications Associate, Housing Options for the Mentally Ill
Grant-writing Intern, Illiniois Public Interest Research Group (PIRG)
Communications Intern, Wm. Wrigley Jr. Company
Finance Intern, Schakowsky for Congress

What are the most surprising, interesting or challenging aspects of your day-to-day work?
It’s definitely challenging to be a one-person shop, but it also makes my daily work interesting. I’m never doing the same thing from day to day.

What inspired you to work for an orchestra?
I see the arts as an important tool in making the Fox Cities a desirable place to live. I’ve always had a love for classical music and played an instrument when I was younger, but I was drawn to the quality and stability of the organization and the impact it has on the community.

What was your first step towards a career in development?
I started as a student worker in the development office at Lawrence University and I got hooked. I really worked hard to try our different size organizations and types of organizations in order to gain a full perspective on the fund-raising field and to gain skills in all areas of development. 

What advice would you offer to someone considering the orchestra field?
If you love working with people and making a difference in your community, this is a great field for you.  Development is an absolutely vital part of any organization’s success, and it’s nice to see the work your organization is doing in the community and realizing that you have a part in it. I would suggest getting as much experience in all aspects of development as possibe before specializing in one area.

Any other advice?
It’s not easy! It’s becoming harder and harder to market classical music when you are up against big country music stars and Broadway shows, but you have to believe in the value of your product and sell it. I feel extremely fortunate to have the Fox Valley Symphony in my community, and I hope I’d feel the same way in any community I called home. 

Lenore Eggleston

Director, Marketing and Development
Westchester Philharmonic
White Plains, New York
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Years in current position: 4
Years in the field: 10

Majors:
B.A. Dance and Psychology
M.A. Performing Arts Management

Additional Training:
Orchestra Leadership Academy courses in public relations
Various other League seminars and events

Career Path:
Development Assistant, Ballet Tech
Market and Development Associate, Kaufman Center (NYC)
Founder and Director, Evolution Dance Theater (Westchester, NY)

What are the most surprising, interesting or challenging aspects of your day-to-day work?
It is always a challenge to balance a small budget, limited resources, and a small staff. You always have to be willing to work at all levels—from envelope stuffing to donor solicitation. Struggling to find new and increased funding is a huge challenge, but often an interesting and rewarding process.

What inspired you to work for an orchestra?
I have been a dancer my entire life and the arts have always been important to me. I have never been as concerned with the type of arts organization I work for as much as the challenge that a particular job position presents.

What were your first steps in your working career?
I took a winter internship with a dance company and a summer internship at a performing arts center during college. I was able to work in a variety of aspects within both companies and it gave me a better sense of what the field demands. I think this was a great way to get my feet wet and gave me solid experience for my resume before I began the job search.

What advice would you offer to someone considering the orchestra field?
Get experience first to be sure this is the right industry for you.

Any other advice?
It’s a lot of work and takes a lot of passion, but is very rewarding.

Robin Eschler

Director of Development
Santa Barbara Symphony
Santa Barbara, California
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Time in current position: Less than one year

Majors:
Natural Sciences, Art
M.B.A.

Career Path:
Independent Contractor/Consultant, RLE Marketing
Advertising Specialist, Hewlett-Packard
Marketing Manager, Solfan Systems
Employment Specialist and Director of Business Development, Work Training Programs Director of Development, Rehabilitation Institute at Santa Barbara

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Each day holds a surprise of varying magnitude and complexity.

What inspired you to work for an orchestra?
Interest in music and the arts.

What were your first steps toward a career in development?
For me, it was a brain that functions analytically as well as creatively. From marketing, it’s a small leap to development, as both are relationship driven.

What advice would you offer to someone considering the orchestra field?
Be prepared for multi-tasking, working in a fast-paced environment, and communicating with a wide variety of personalities and egos.

 

Robin Georgion

Development Director
South Carolina Philharmonic
Columbia, South Carolina
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Years in current position: 1
Years in the field: 9

Majors:
Music/Fine Arts

Additional Training:
Association of Fundraising Professinals  seminars
CASE workshops
League of American Orchestras National Conference

Career Path:
Atlanta Opera: Development Manager, Special Events Manager, Corporate and Public Funding Director
Associate Director of Annual Giving, Eastern Kentucky University

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I enjoy multi-tasking and this job offers lots of opportunities to do just that!

What inspired you to work for an orchestra?
I am a lifelong musician (string bass) and love working with people. This was the perfect fit!

What were your first steps in your professional career?
I worked my way up from data entry, not even knowing what “development” meant, to what I do now and I wouldn’t change a thing.

What advice would you offer to someone considering the orchestra field?
Go with the flow and keep your cool. Plans can change on a moment’s notice and that’s okay.

Any other advice?
Hands-on experience is vital. I know people who have multiple degrees in the field but do not know how to run a copy machine. Learn everything you can. One day or another, you’ll need it!

Katy Hall

Corporate Development Manager
Chicago Symphony Orchestra
Chicago, Illinois
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Years in current position: 1
Years in the field: 2.5

Majors:
Undergraduate: History, Political Science 
Graduate: Arts Administration

Additional Training:
Fundraising class through Indiana University Center on Philanthropy

Career Path:
Intern, Houston Grand Opera 
Corporate and Foundation Relations Assistant, John F. Kennedy Center for the Performing Arts

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I am continually surprised by the purpose and goals of a corporation’s sponsorship of the orchestra—the motivations are continually evolving and changing.

What inspired you to work for an orchestra?
I wanted to work for a world-class classical organization. I love the music!

What was your first step toward an orchestra career?
Choosing to pursue a graduate degree in a very specific field.

What advice would you offer to someone considering the orchestra field?
Regardless of the field you pursue, it is increasingly important to aggressively pursue continual computer technology training, and to stay abreast of technological changes.

Connie Haynes

Patron Services Representative
Colorado Symphony Orchestra
Denver,Colorado
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Years in current position: 2
Years in the field: 15

Majors:
Optician, English

Additional Training:
I was a band and orchestra mom.

Career Path:
I have been a fundraiser for more than fifteen years for various non-profit organizations, Including P.A.L, Easter Seals, Special Olympics, ASPCA, Sierra Club, Planned Parenthood, and the DNC.

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I love to talk to people about the things I enjoy. One of those things is the orchestra. Three
generations of my family have benefited from our education department. I think that’s very important, even if the only thing a person learns is a better understanding of music for listening. Nothing can match the powerful effect music has on an individual–emotionally, mentally, inspirationally, etc.

What inspired you to work for an orchestra?
I was looking for a job and found an ad that said “work for the symphony.” I did not hunt it down exactly, but when I came in for the interview I realized that I’d been here many times before, with my children for music lessons, and also because I had attended the children’s programs myself. I was one of the kids bussed down here a couple of times, when I was growing up.

What advice would you offer to someone considering the orchestra field?
Keep focused, don’t get discouraged. We all have our bad days and everyone makes mistakes sometimes. Don’t be afraid to ask questions and don’t be afraid to talk to someone if you feel things are not quite right. There is more than one way to do just about everything. Nothing beats creativity, sincerity, and hard work—except maybe stick-to-it-tive-ness.
 

Paul W. Hogle

Vice President for Institutional Advancement and Learning
Atlanta Symphony Orchestra
Atlanta, Georgia
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Years in current position: 6
Years in the field: 24

Majors:
Joint degree in Music and Business: Music Management.

Additional Training:
My first League of American Orchestras seminar in 1984 with Mike Gehret on fundraising set the bar high. . . followed by my generation’s version of Essentials of Orchestra Management with Ralph Black. Every time I went to a League training program, the faculty member was introduced as “a legend.”  Turns out, they were.

Career Path:
Executive Director, Evansville Philharmonic 
Director of Development, Indianapolis Symphony Orchestra 
Director of Development, Chicago Symphony Orchestra
Vice President for Development, Baltimore Symphony Orchestra
Vice President for Institutional Advancement and Learning, Atlanta Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
That the “white board” that is our work gets wiped clean every night.

What inspired you to work for an orchestra?
The alluring combination of the music and the realization that, in most cities, the orchestra is the most influential cultural organization. In what other field could a 21-year-old run a $1 million business, with a board populated by that community’s top business and social leaders!

What advice would you offer to someone considering the orchestra field?
My success in this industry is the result of an odd recipe whose ingredients are flash-fried instincts, slow-cooked knowledge, and a zesty cup of hearty stock, all cooked to taste.  Translation: If you’re considering joining this field, leave the “chips” at home.

Any other advice?
Some of the most magnificent experiences of my life have been “on the job” at a concert; some of the most profound disappointments in my life have also been on “on the job.”  In this field, the highs are mighty and glorious; the lows can be crushingly deep.

Michelle Lange

Director of Development
Monterey Symphony
Carmel, California
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Years in current position: 2
Years in the field: 10

Majors:
Business

Additional Training:
Fundraising workshops in a variety of areas 
Planned giving seminars 
Dale Carnegie leadership training 
Washington Center’s Women as Leaders Program 
Blackbaud University Raiser’s Edge Training

Career Path:
Personnel Management Specialist, United States Army 
Administrative Assistant, United Mailing; Jefferson Community College 
Substitute Teacher, DoDDS 
Executive Director, Lakewood Health System Foundation 
Annual Gifts Officer,  CentraCare Health Foundation
Fundraising Consultant, Monterey Symphony

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The most interesting is the varied backgrounds of the people I meet each day. The most surprising is the vast wealth of our patrons. The most challenging is changing what has always been done.

What inspired you to work for an orchestra?
I began playing the piano at the age of seven and played flute and bassoon through high school. I’ve continued with piano and have always had a great love of all music.  Marrying my love for music with my passion for fundraising seemed to be a perfect match.

Would you have done anything differently?
Looking back, I would have been more assertive in taking leadership responsibilities.
What advice would you offer to someone considering the orchestra development field?
In the world of development, the two most important qualities I’ve found to be useful are to be a good listener and to have a good memory. Learn as much as you possibly can about everything that is going on around you and stay current with trends that are and aren’t working. I’ve also found that if you are passionate about what you do, it becomes contagious.

Any other advice?
This field (more so than others) has an overwhelming mix of personalities that are sometimes difficult to handle. It seems to be a world where they perceive themselves as unique and exempt from the way people function in the real world. At the end of the day, we’re all just people!

Lisa McDaniel

Director of Volunteer Programs and Donor Events
Chicago Symphony Orchestra
Chicago, Illinois
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Years in current position: 9
Years in the field: 12

Majors:
Undergraduate: Communication Management, minors in Psychology and Business Management
Graduate: Arts, Entertainment and Media Management

Career Path:
Development Intern, Goodman Theatre
Development Assistant, Goodman Theatre
Volunteer Project Manager, Chicago Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Every day is different when working with volunteers. Some days are very motivational and some are very challenging, but each day brings a different set of tasks and objectives.  For people who thrive in a fast-paced environment, partnering and working with volunteers would be a good job.

What inspired you to work for an orchestra?
I am inspired by working for an arts organization, regardless of whether it is an orchestra.  Creative expression is a valuable tool and I feel very proud to be able to work for an organization that gives back so much to the community.

What steps did you take toward a career in the arts?
Two internships during college with the same summer theater company. My first internship was working with the Operations Director and my second internship was working with the Executive Director. Having such exposure early on really helped solidify my desire to work in the arts. Once I started graduate school, I took a part-time job in the arts, just to learn more and be exposed to more people in the field.

What advice would you offer to someone considering the orchestra field?
Internships are really the best way to gain experience and exposure to the industry; doors will be opened to you that wouldn’t otherwise.

Any other advice?
The best advice someone gave me is this: The job that you retire from may not exist yet, so be creative in thinking about what you are interested in doing—perhaps you will find one day that you are able to design your own dream job! 

Cathy Mendoza

Director of Development
Modesto Symphony Orchestra
Modesto, California
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Time in current position: 6 months
Years in the field: 2

Majors:
Communications/Public Relations

Career Path:
Org. Communications Analyst, Empire Union School District
Business Development Director, American Heart Association

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I am challenged by the sheer volume of things I need to do, things I want to do, and creative out-of-the-box things I’d love to do!

What inspired you to work for an orchestra?
The Modesto Symphony is a highly regarded non-profit and a vital part of the community I’ve lived in for 23 years. We have attended concerts for several years and I am thrilled to work for such a fine organization!

What advice would you offer to someone considering the orchestra field?
You must value relationships with your sponsors and donors more highly than you value the contributions they might make!

Ann Morrison

Director of Development
Fairfax Symphony Orchestra
Fairfax, Virginia
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Years in current position: 3
Years in the field: 21

Majors:
Marketing, after starting out as a Music Education major

Additional Training:
Non-Profit Management Certificate, University of Texas-Austin
Fundraising Management Certificate, University of Texas-Austin

Career Path:
Neighborhood Chairman (volunteer), USA Girl Scouts, Kaiserslautern (Germany) Special Events Planner, National MS Society/Greater Carolinas Chapter
Development Associate, Arthritis Foundation/Greater Washington, D.C. Chapter
Special Events (volunteer), Fort Hood Officers’ Wives’ Club
Managing Director, Fairfax Choral Society
Director of Development, Vive Les Arts Theatre/Killeen, Texas
Adjunct Faculty, University of South Florida Professional Development School

What are the most surprising, interesting or challenging aspects of your day-to-day work?
One of the most surprising and interesting aspects is the breadth of support for the arts through individuals, corporations, and foundations. The challenge lies in the research for funders and, in many cases, the introduction of an orchestra as a non-profit, professional organization to funders. There is never a dull moment!

What inspired you to work for an orchestra?
When I worked for the Fairfax Choral Society, the Fairfax Symphony Orchestra was down the hall from us in the same building. Having grown up in Northern Virginia and having been an active music student through high school, I was always aware that the Fairfax Symphony was at the cornerstone of the arts in the area. After leaving the Fairfax Choral Society for Texas, I vowed that I would find a way to work for the FSO if and when we returned to Virginia—and the opportunity presented itself at the perfect time both for me professionally and for the organization, as it almost shut down right after I was hired due to a tremendous deficit.

What were the first steps in your development career?
When I began my “working” career, I was a military spouse with two small children, living in an American military community in Germany. One of my friends asked me to take on the position of running the Girl Scouts program. After completing two years in that job, I realized that people must get paid to do similar work, as I was responsible for more than 100 children and more than 50 adult volunteers, with a $60,000 budget. This led me into the development and special-events field in non-profits when I came back to the United States. I wouldn’t change anything in my early years, as I believe starting as a volunteer—and continuing to hold volunteer positions both in my military and civilian communities—has given me a solid base on which to launch and develop my career.  The fact that I have come full circle in the last seven years, returning to work in non-profit arts organizations, is simply the icing on the cake!

What advice would you offer to someone considering the orchestra field?
Go to the League National Conference; volunteer for mentoring circles; join the League’s listserv for your speciality—talk to people and learn from those who have been in the field for awhile. Take certificate classes if you don’t have the time or resources to take a master’s program; learn about non-profit management as a field, not just in the orchestra or arts world.

 

Reimer Priester

Development Director
Greenville Symphony Orchestra
Greenville, South Carolina
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Years in current position: 2 years
Years in the field: 3 years

Majors:
Public Policy Studies, Arts Management focus

Additional Training:
League of American Orchestras Development Mentoring Circle

Career Path:
Young American Artist Program Intern, Glimmerglass Opera
Operations Intern, Greenville Symphony Orchestra 
Public Health Extension Worker-Peace Corps, Guinea, West Africa 

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The most interesting aspect of my job is easily the human element. Much of what I do is hugely predicated on my skill (or lack thereof) with people. Whether it’s coordinating board members to solicit gifts or doing it myself, making sure that my interactions with each party are the best possible keeps my job engaging and fascinating.

What inspired you to work for an orchestra?
A consuming love for the arts and an obsession with music.
What advice would you offer to someone considering the orchestra field?
Passion is what you need at the beginning; self-awareness and intellectual curiosity will carry you through. But honestly, what do I know? I’m 27.

Any other advice?
I tend to think that this field self-selects, but I’d have to say, “love the music.”  You can’t be in this field without that love. I’ve seen it happen and it’s not fun to deal with.

Kathryn Rasmussen

Director or Development
Madison Symphony Orchestra
Madison, Wisconsin
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Years in current position: 2
Years in the field: 8

Majors:
Cello performance, Arts Administration

Additional Training:
Internships, San Francisco Opera, Bravo! Vail Valley Music Festival
League of American Orchestras, Association of California Symphony Orchestras seminars

Career Path:
Director of Operations, Modesto Symphony Orchestra
Associate Director of Development, Madison Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Coordinating the efforts of a large development committee (for all of the above).

What inspired you to work for an orchestra?
I love the music, I love what a vibrant symphony means to a community, and I believe that the performing arts—particularly music—are one of the highest forms of human pursuit.

What were your first steps toward an orchestra career?
I got two master’s degrees in Cello Performance—a long story and a bad idea.

What advice would you offer to someone considering the orchestra field?
Volunteer for an orchestra. There’s no better way to learn about the field and find out if you enjoy it.

Debra Sandry

Director of Development
Quad City Symphony Orchestra
Davenport, Iowa
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Years in current position: 4
Years in the field: 12

Majors:
B.A. Communications/Public Relations
On my own, I took as many business classes as I was able to fit in my schedule.

Additional Training:
I have been a member of Association for Fundraising Professionals for a great deal of my time in the field. I take all available local training, attend meetings, and national conferences. 

Career Path:
Alumni Director, Marycrest College 
Program Director, Girl Scouts
Area Manager, American Diabetes Association 
Outreach Coordinator and Program Administrator, State of Iowa
Assistant Director, Generations Area Agency on Aging

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Most surprising: the loyalty among board members. Most interesting: staffing/ administration (I had no idea what it took to run an orchestra). Challenging: educating the board and staff on the nature of true fundraising and setting priorities to make results happen.

What inspired you to work for an orchestra?
Honestly, the job was listed in our local paper. I have no music background and thought it was a long shot—I took a chance and I’ve loved my job ever since.

What was your first step when beginning your career in development?
I was able to take my first attempt at fundraising directly out of college and was strongly supported by my then-supervisor. I had a support system around me that allowed constant encouragement, support, and training.

What advice would you offer to someone considering the orchestra field?
Volunteer, volunteer, volunteer. Develop your transferable skills to the highest levels.

Any other advice?
Network. Read. Attend concerts and truly watch what it takes to run an orchestra.

Jennifer Leed Schwartz

Director, Corporate and Foundation Relations
Baltimore Symphony Orchestra
Baltimore, MD
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Years in current position: 1.5
Years in the field: 12

Majors:
Undergraduate, American History
M.B.A., George Mason University

Additional Training:
Orchestra Management Fellowship Program, League of American Orchestras

Career Path:
Community Relations Manager, National Symphony Orchestra
Special Projects Manager, Associate Director of Artistic Administration, Toronto Symphony Orchestra
Operations Manager; Operations and Artistic Coordinator, Seattle Symphony
Development Officer, Orchestra Coordinator, Seattle Youth Symphony Orchestras

What inspired you to work for an orchestra?
Love of music and wanting to help maintain a lively cultural community

W. Snyder

Corporate Relations and Foundation Giving Manager
Syracuse Symphony Orchestra
Syracuse, New York
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Time in current position: Few months
Time in the field: Few months

Majors:
Undergraduate: International Business, Human Resources, U.S. History 
Graduate: Public Relations, Communications

What inspired you to work for an orchestra?
The Syracuse Symphony is a non-profit organization, thus the majority of the people you interact with on a daily basis are completely dedicated to the orchestra and to helping fulfill its mission. The orchestra is a great benefit to our community.

What advice would you offer to someone considering the orchestra field?
If you are considering working in the non-profit music field, the best advice I can give is to network with as many people as possible. Not only will this give you experience in talking to many different people with different careers and from different walks of life, it may help you to secure a job in the industry.

Peggy Titterington

Vice President for Development
Chicago Symphony Orchestra
Chicago, Illinois
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Years in current position: 1
Years in the field: 22

Majors:
Economics
Career Path:
Subscription Sales Manager, Goodman Theatre
Manager, Artsmarketing Services
Marketing and Public Relations Manager, Chicago Opera Theater
Marketing Coordinator, Great Book Foundation
Director of Development, Music of the Baroque
Director of Marketing and Public Relations, Music of the Baroque
Director of Development, Barat College
Director of Development, Chicago Symphony Orchestra
Director of Annual Giving; Director of Individual Gifts, Chicago Symphony Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
I love working with our donors and hearing about how much they love the orchestra,  though it can be challenging to manage all of the directions in which I am pulled.

What inspired you to work for an orchestra?
I love music. I fell into working for the arts. I had originally thought I would work in the investment or financial arena but realized I could use my background in economics in another way.

What advice would you offer to someone considering the orchestra field?
Network, network, network. And take any job in the field you want. You may be surprised. Don’t say no when opportunity knocks.

Any other advice?
Be prepared for very long hours.

Jean Tucker

Director of Development
Dubuque Symphony Orchestra
Dubuque, Iowa
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Years in current position: 3
Years in the field: 13

Majors:
B.S. Psychology, minor in Business Administration 
M.S. Industrial/Organizational Psychology

Additional Training:
Principles and Techniques of Fundraising, The Fund Raising School 
Association of Fundraising Professionals seminars and conferences
Orchestra Leadership Academy seminars, League of American Orchestras

Career Path:
Director of Annual Funds, Clarke College 
Director of Annual Fund and Alumni Relations, Holy Family Catholic Schools

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Most surprising: the information donors are willing to share. Most challenging: corporate sponsorships.

What inspired you to work for an orchestra?
Music has always been an important part of my life. I studied organ from second through eighth grades and clarinet from fifth grade into my freshman year of college. Currently, I am a member of our church handbell choir. I feel very strongly about the arts and want to share that passion with others.

What advice would you offer to someone considering the orchestra field?
Network with other colleagues, ask questions, read current literature, attend as many educational seminars as possible, get involved with your local Association of Professional Fundraisers chapter.

Ralia Vardaxis

Vice President of Development and Community Relations
Reading Symphony Orchestra
Reading, Pennsylvania
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Time in current position: 5 months
Time in the field: 5 months

Majors:
English Communications, German

Additional Training:
Indiana School of Philanthropy, Principles and Techniques of Fundraising

Career Path:
Wachovia Bank: Teller, International Department Administrative Assistant, Product Manager, Geographic Marketing Manager, Community Relations Manager

What are the most surprising, interesting or challenging aspects of your day-to-day work?
The amount of community outreach involved in the orchestra’s work.

What inspired you to work for an orchestra?
The new maestro being onboard, as well as optimism about local community leadership.

What advice would you offer to someone considering the orchestra field?
Familiarize yourself with the symphony audience and local community leaders. Become very familiar with your board of directors.

Any other advice for working on the development side?
A financial background would help significantly.

Michelle Weger

Director of Institutional Giving
Los Angeles Chamber Orchestra
Los Angeles, California
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Years in current position: 3
Years in the field: 10

Majors:
Music-Vocal Performance

Additional Training:
The Grantsmanship Center grant-seeking and proposal workshops

Career Path:
Church Choir Conductor
Editorial Assistant, The Grantsmanship Center
Administrative/Program Assistant at a grassroots, multi-disciplinary art center
Administrative Assistant/Data Manager for a large childcare/anti-poverty organization Administrative/Production Assistant, Los Angeles Chamber Orchestra

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Interesting: Development always has an eye several months to a couple of years down the road, and I like hearing about plans for exciting programs while they’re in the formative stages. Challenging: See “Interesting.” Also, it can be frustrating to write about specifics of a program when they haven’t been completely fleshed-out. I never want to make promises to funders that aren’t likely to be fulfilled, and I don’t want to pressure the artistic/production staff to shape programs to fit funding guidelines.

What inspired you to work for an orchestra?
Music has always been a part of my life, and once I decided that a performing career was not for me, working with LACO kept me actively involved in the field, supporting an art form I love and surrounded by people who are as passionate about music as I am.

Would you do anything differently?
When I worked for The Grantsmanship Center, I felt strongly that I didn’t want to participate in fundraising myself. It wasn’t until later that I realized there might be jobs in development that could allow me to use my background in music and my writing skills, and which were still in my comfort zone. Also, early on, I didn’t really have a complete picture of the different roles in an arts organization, and I wished I’d made the effort to research, do informational interviews, etc., so that I knew more about typical job functions and what would be expected of me—and the best way to use my skills to contribute.

What advice would you offer to someone considering the orchestra field?
Nowadays, with so much information so easily accessible online, if nothing else, prospective arts administrators should look at organizational websites to see what kinds of programming different groups offer and how they’re structured. Reading college course catalogs in the areas of creative industries and non-profit management can also offer a clue about the kinds of skills and experience one might need to have to work in this field. If at all possible, volunteer for an organization, even if on a casual basis, and use that time to observe what staffers do and pick their brains about this field.

 

Elizabeth Welsh

Donor Relations and Special Events Coordinator
Baltimore Symphony Orchestra
Baltimore, Maryland
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Years in current position: 1
Years in the field: 2.5

Majors:
Music Performance, Music History

Additional Training:
Non-profit event-planning seminars

Career Path:
Programs Assistant, Mid-Atlantic Arts Foundation
Development Assistant, Baltimore Symphony Orchestra
 
What are the most surprising, interesting or challenging aspects of your day-to-day work?
I am constantly challenged to create beautiful events with a small, non-profit budget. My interaction with the patrons makes my job very interesting; no two days are ever the same.

What inspired you to work for an orchestra?
I always wanted to perform, but with that out of reach, I interned for a chamber orchestra and became interested in the development side of things.

What would you have done differently?
I interviewed for a lot of positions, but I wish I had been more prepared with more knowledge under my belt.

What advice would you offer to someone considering the orchestra field?
Research, research, research. And intern a lot in the field to get experience.

Emily Wise

Annual Fund Coordinator
Baltimore Symphony Orchestra
Baltimore, Maryland
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Time in current position: 1.5 months
Years in the field: 2

Majors:
Undergraduate: Art History and Museum Studies
Graduate: Cultural Policy and Arts Administration

Additional Training:
Internship at Smithsonian American Art Musuem
Grant-writing workshop, arts advocacy training during grad school
Internship at performing arts agency

Career Path:
Graduate Administrative Associate, Membership, Wexner Center for the Arts (Columbus, Ohio)

What are the most surprising, interesting or challenging aspects of your day-to-day work?
Since I’m new to orchestras in general, I would say just how many people love it and are loyal to it. Also, just how fast and exciting development work is, although I kind of already knew that.

What inspired you to work for an orchestra?
I have always been inspired by music and feel others are, too. I’m very interested in the business side of orchestras, to ensure they are around to help the community where they are situated.

What were your first steps toward a career in the arts?
Definitely in college, when I took a museum studies course. I knew I wanted to be behind the scenes to display art, any art. And when I interned at the Smithsonian, I learned more about donors and how important they are to the business of an arts organization.

What advice would you offer to someone considering the orchestra field?
Definitely pursue it, but the more experience the better.  So, go for internships, workshops, mentoring, apprenticing, even just talking to someone in the field is a good step.

Any other advice?
Be open. Coming from comtemporary arts, orchestras were percieved as stiff and not as cutting-edge, but I would claim they are just as cutting-edge and fresh as some of the most controversial artists are out there. They help break the mold and alter perceptions of what classical music is by bringing in new works and new composers, which in turn brings in new audiences and spreads the word of the community orchestra.