Concert Societies and the Future of Classical Music. Organisational Models and Sustainability in Contemporary Italy

Concert societies represent one of the longest-standing and most significant organisational forms in the dissemination of classical music in Italy. Historically deeply rooted in the cultural fabric of cities and often born from civil society initiatives, these institutions have played a central role in the musical programming of large Italian cities, as well as small towns, for over a century, promoting the circulation of artists and audience development. In the contemporary context, however, these interesting and hybrid entities are facing necessary organisational and managerial transformations due to shifts in cultural consumption patterns, evolving funding channels, and the need to develop new audiences. Despite their widespread presence and role, these cultural organisations have received little attention in the academic literature. This study, therefore, aims to contribute to a greater understanding of these entities by analysing their organisational and economic characteristics. The research is based on an empirical investigation conducted through questionnaires and financial statements collected from a sample of 20 Italian concert societies active in 2025. The collected data were analysed using descriptive techniques to explore the relationships between organisational characteristics, economic size, production capacity, and audience composition. Preliminary data analysis—which does not yet include an examination of financial statements—highlights significant heterogeneity among the organisations analysed in terms of economic size, production capacity, and programming models, as well as a sustainability model heavily dependent on public funding, ticket sales and season ticket revenues. At the same time, the analysis highlights a number of patterns in audience composition and governance structures, characterised by strong stability and limited turnover in artistic direction. Overall, these findings suggest potential evolutions in the governance models and management practices of concert organisations, particularly with regard to diversifying funding sources, developing audiences, and strengthening organisational capabilities to ensure sustainability and continuity over time.