In the public eye, The Cecilia Chorus of New York is a smoothly running machine. A season is selected, and new works are commissioned. Flyers, posters, and newsletters are written, designed, and distributed. The Chorus website is kept updated. Concert halls are booked and soloists engaged. Notices appear in print media and on the radio. The Playbill programs are filled with background information about the concerts, the performers, and donors. Singers enter, sit, stand, and take bows at the right times and in the right order.
Chorus members see even more: music scores are ordered and sold at rehearsals, which take place in a rented hall where hot drinks and snacks are available during breaks. Membership and attendance lists are kept up to date, dues collected, fundraising events organized, grant proposals written and appeal letters sent out, auditions arranged, and social events are organized for members. The list goes on and on, and all of this is being carried out by volunteers from the ranks of our singers,, organized into committees led by members of the Board of Directors.
In this and future newsletters, we will be highlighting the work of a number of our volunteers and committee chairs, starting with the publicity and development committees, currently chaired by Erika Renae Keith, Steven Salzgeber, Elaine Bergman, and Gina Carroll. Click on the photos to learn what they do for the Chorus.
ERIKA RENAE KEITH and STEVEN SALZGEBER: publicity co-chairs (outgoing)
The publicity co-chairs work collaboratively with the communications coordinating committee to develop and implement a publicity and marketing strategy that focuses primarily on promoting The Cecilia Chorus of New York’s concert season. Chairs work with fellow board members to ensure that all communications to patrons, donors, and Chorus members have a streamlined look and feel across all mediums, including print, social media, the website, and email communications.
Erika Renae Keith has concentrated primarily on the design and production of all promotional concert materials, working directly with chorus designer Jieun Yang. With her co-chair Steven Salzgeber, she has overseen print production and mailings, and she has taken over the position of webmaster which she will continue to fulfill. Erika: “What I have loved best about this volunteer job is the creative side: working over the summer with Jieun, with important input from our Music Director Mark Shapiro, to determine the design of the coming season’s concert posters, flyers, and postcards. The rest of the year is more the production side, making sure that these designs are printed and distributed correctly and on time.”
Steven Salzgeber has worked tirelessly with our paid publicist to develop press releases and conduct outreach to publications across New York City. The New York Choral Consortium lists some 65 member choruses, all performing for the public and, inevitably, competing for press coverage. Steven: “My finest moment, I think, was in February of this year when I managed, after a great deal of sleuthing, to find the name and email address of exactly the right music editor from The New Yorker magazine who might be interested in our March concert (Oedipus the King, by the Brothers Balliett - ed). This resulted in a wonderful listing in their arts section, Goings On About Town, and when I reached out to this same editor again in April, he gave us a terrific shout-out for our Jabri-Brahms concert in May. Press work is a relentless push, but it’s so satisfying when it yields results like that!”
ELAINE BERGMAN AND GINA CARROLL: development co-chairs (outgoing)
The development co-chairs create and manage the development plan of the Chorus based on the strategic goals adopted by the Board of Directors. The co-chairs recruit volunteer choristers to work on appeal letters, fundraising events (including an annual Auction), donor relations, grant writing, endowment growth, and other activities as needed. An important part of the job, recurring annually, is the grant application for the New York City Department of Cultural Affairs (DCA) as well as the required Cultural Data Project.
Elaine Bergman has served as board member and development co-chair for the past six years. She has developed and implemented a segmented, multi-tiered fundraising strategy as well as crafting new ways of reaching and appealing to existing and new donors in order to help keep the Chorus in good financial health. To this end, she started a bi-monthly email newsletter, which has since expanded its readership to include fellow Chorus members and attendees, as well as donors. “What I have enjoyed most is coming up with strategic ways to reach donors and get them excited about what we do,” Elaine says. “We need to do more than just ask for money. By creating various levels of giving, and instituting specialized funds like our recently created Composers Fund for commissioned works, I hope I’ve helped create a program of giving that will sustain itself in the long-run.” Elaine plans to continue working on donor relations alongside her successor.
Gina Carroll is stepping down from her role as co-chair, which has largely meant assisting Elaine in all the many responsibilities that job entails. But she will continue her work as grant writer, most importantly for the annual DCA grant, which we have received for each of the four years that Gina has been in charge of the application. Gina: “For grants, especially government grants, more and more information is required as the demand for accountability and transparency grows. It’s a huge job to get everything together in the right order, the right wording, and the limited space given to us. But what I love is the fact that in order to write these grants, I have to know practically everything about the workings of the Chorus: the finances, the talent, the philosophy behind our programs, the outreach, ticket sales, publicity, and technical aspects, down to how many musicians are in the orchestra at each concert. For that I get to talk to all the various member volunteers involved in these activities: really getting a front-row view into the workings of the Chorus. What a privilege!”