It appears that not many people really understand the economics, politics and strategy of running a concert program. This happens to be something I know a lot about, maybe more than just about anybody in the country with a few (1 or 2) possible exceptions. I say that graciously without actually believing it.
There are many benefits from having a well run concert program. The exposure can be invaluable. But, the benefit only accrues over the long term and it can blow up in your face many times on the way. It is not for the weak of heart or stomach.
Anyway, my current strong belief is: If you can’t do it properly, don’t do it at all. By properly, I mean pianos in all major markets and most 2nd tier. This means at least 15 to 20 concert pianos. These pianos have to be stationed with dealers who know what they are doing, have good movers and MOST IMPORTANTLY, have extremely highly trained and experienced technicians. This last item is where most fail.
Then, you have to have money, and quite a bit of it, to pay for shipping the pianos in and prepping them. The realities of the current monopolized marketplace is that there will probably be interest in using your piano, but nobody will be willing or able to pay for the moving and tuning. If you want it there, you will most likely have to pay for it. Trust me, this adds up fast.
There are often comments on PianoWorld “I haven’t seen a “fill in the blank” on a concert stage so they must not be that good”. No, it means they have decided not to beat their heads on a well fortified wall.
