“That’s Where We Come In.” How Chamber Music America Supports the Field’s Artists and Ensembles
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CMA grantee April Webb of the ensemble Sounds of A & R, performing at CMA’s 2024 National Conference in New York. Photo: Becky Yee / Color Wheel Studios
When it comes to philanthropic support for the performing arts, regrantor organizations often play an important role. One to note is Chamber Music America (CMA), which supports the chamber music field through offerings like grant programs, professional development services, publications, networking events and an annual conference. Guided by its mission to cultivate a “stronger, more equitable field,” the New York City-based organization relies on incoming donations and support from funders like the Aaron Copland Fund for Music, the Doris Duke Charitable Foundation and New York Community Trust.
Like other performing arts, chamber music has its share of funding worries. “Many ensembles struggle with limited resources and unreliable funding streams creating immense challenges to sustain their work and their output,” said Chamber Music America CEO Kevin Kwan Loucks in an email to IP. “The field is crowded, often forcing artists to balance artistic integrity with commercial viability. Navigating a landscape gripped by economic uncertainties and shifting audience preferences continues to disrupt any sense of positive momentum.”
CMA aims to build that momentum by providing critical financial support. “So many artists and ensembles are bursting with creativity but lack the financial means to fully realize their artistic vision,” Kwan Loucks said. “That’s where we come in.”
But CMA also recognizes that sustainability requires more than a check. To that end, efforts like its Community Support grants help jazz presenters and small ensembles build and maintain relationships with audiences, with an eye toward individuals who may not normally be inclined to attend chamber music performances.
Here are a few things to know about an influential funder that’s focused on a distinct segment of the performing arts ecosystem.
An “ongoing commitment” to the field
CMA was founded in 1977 by a group of 24 musicians and launched its first grant program the following year. CMA defines chamber music as music composed for small ensembles, with one musician per part, generally performed without a conductor. As CMA’s website notes, historically, the term solely applied to Western classical music for small ensembles, like string quartets. Now, however, the term “chamber music” includes an array of musical genres, from contemporary jazz to folk music.
In 1984, CMA debuted Classical Commissioning, its first and longest-running commission program to back the creation, recording and performance of new chamber music. It went on to launch a commissioning program for jazz ensembles in 1999. Over 500 new works have been created through CMA’s commissioning programs. “One key lesson we've learned throughout our long history of supporting commissioning projects is the importance of nurturing creativity and encouraging innovation within the field,” Kwan Loucks said. “By supporting composers and ensembles in their artistic endeavors, we not only contribute to the expansion of the repertoire, but also encourage experimentation and boundary-pushing.”
More recently, in 2017, CMA ratified a commitment to diversity, equity and inclusion, codifying its efforts “to fully understand and represent all chamber music traditions and the people who create, perform and present those traditions.” For example, CMA began compiling and tracking data about the racial composition of its membership, grant applicants and grantees. These reports include benchmarks aimed at boosting DEI, such as stipulating that 50% of award recipients are African, Latinx, Asian, Arab and Native American (ALAANA) performers or composers. In 2021, 62% of CMA’s commissioning grants went to BIPOC composers and bandleaders.
A lot of CMA’s funding flows to New York grantees, but not exclusively so — according to CMA’s most recent available tax records, 34 of its 64 disbursed grants flowed to organizations based outside NYC. CMA reported net assets of $12.7 million — additional revenue sources include membership dues and magazine advertising — and disbursed $1.4 million in grants.
Kwan Loucks assumed the role of CEO in 2022, with the chamber music field still reeling from the pandemic. A Juilliard-trained concert pianist, Kwan Loucks previously served as the director of business development and strategic partnerships at the Philharmonic Society of Orange County in Irvine, California.
Three types of grants
CMA provides funding opportunities across three categories: Commissioning grants for the creation, performance and recording of new works, Community Support grants for community-based performances, residencies and special projects, and Ensemble Development grants.
Each category includes two grants. For example, in the Community Support area, there’s Presenter Consortium for Jazz, which backs presenters partnering with other groups to engage jazz ensembles, as well as the Artistic Projects award, which goes to small ensembles and presenters with operating budgets under $250,000 for artist-generated projects.
When I asked which CMA grant was particularly noteworthy, Kwan Loucks referred to the Artistic Projects award. “Whether it's a cutting-edge fusion of classical and world music, or a bold reinterpretation of jazz standards, we believe in empowering artists to push boundaries while captivating their audiences and their communities,” he said. “And our impact extends well beyond the stage — grant recipients present their work in the five boroughs of New York City, ensuring that chamber music remains accessible and relevant to many diverse communities.” Kwan Loucks acknowledged the award’s funding partner, the New York City-based Howard Gilman Foundation, which provides approximately $30 million in grants annually to over 200 organizations across the Big Apple.
Meanwhile, in recognizing that building strong connections to communities is vital to the field’s sustainability, CMA’s Community Support grants speak to a key priority for many performing arts funders. Another we’ve covered recently is the Wallace Foundation, which recently concluded a $52 million initiative focused on finding ways to engage audiences. For Kwan Loucks, CMA’s Community Support grants “uplift initiatives that foster meaningful interactions between ensembles and their audiences, with a special focus on extending outreach to new and diverse demographics.”
“We must remain vigilant”
Kwan Loucks was also excited to report that he and his team are developing plans to create a new physical space to host CMA’s national conference, industry gatherings, performances, recordings and rehearsals throughout the year.
“Built by artists, for artists, this venue will diverge from typical performance spaces by embracing a business model that isn't solely reliant on ticket sales,” he said. “This flexibility will allow us to promote and uplift music-making in a way that is truly unique, all during a time when artists are in increasing need of a space to ideate, present and be encouraged to take risks.”
By creating a convening space, CMA joins other arts funders that complement grantmaking with access to brick-and-mortar locations. For instance, earlier this year, I chatted with Karen Patterson, the executive director of Milwaukee’s Ruth Foundation for the Arts. Patterson told me that as the foundation entered its second year, its stakeholders decided to lease a 5,250-square-foot property to support its grant operations. “Having a place to host convenings, exhibitions and residencies will add another layer of depth to our work,” she said.
Looking ahead, Kwan Loucks is optimistic about the chamber music field’s future now that the pandemic has mostly receded. “As live performances resume and audiences eagerly return, there is a renewed sense of enthusiasm and appreciation for the arts,” he said. “But while there are some positive signs, we must remain vigilant and continue to adapt to changing circumstances to help ensure the long-term sustainability of the sector at large.”
