Development MD

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

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.