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History

In many ways, the history of Community Concerts parallels that of the 20th century. An ingenious solution to a problem grew into a large, enduring network of performing arts presenters, with artists and audiences alike benefiting from “a Carnegie Hall in every town.”

During the 1920s, radio, film, and the phonograph gave millions of Americans their first taste of professional quality performing arts. Yet, as America's appetite for great, live music grew, the audiences to support such concerts were largely confined to major cities. Hundreds more cities had no concerts at all, for it was too risky a business. Concert backers often lost money when attendance might rise or fall depending on the public's whims, the weather, or competition from other local events.

Soon an idea, destined to revolutionize the performing arts in America, sprang up simultaneously in two areas of the U.S.: the Great Lakes region and in several eastern states. Begun as a humble experiment, it grew into "the organized audience plan" and ultimately into "Community Concerts".

It was a brilliant but simple idea: instead of struggling to make up deficits after the fact, money was raised first, and then artists were engaged within the limits of the available funds. This fostered audience development on an unprecedented scale, as people were attracted to a whole season of varied concerts at a reasonable price.

In 1930, a group of prominent artists' managers in New York City formed the company that would become Columbia Artists Management, Inc. (CAMI). These managers adopted Community Concerts and made it part of their new venture. With Columbia Artists’ impressive roster as its source for artists and attractions, added to the ready-made audiences of Community Concerts, their success was ensured. "A Carnegie Hall in Every Town” became the company's proud slogan.

Community Concerts flourished in the 30's despite the stock market crash of 1929 and the resulting Depression. At the time of the crash there were 42 Community Concert Associations in America; yet, by 1940, there were 335. Obviously, these concerts were regarded as much more than mere entertainment; they were a lifeline to humanity, sanity, and normalcy. Food for the soul was—and still is—as important as food on the table.

By the 1950’s, the total number of Community Concert Associations had risen to over 1,000. Associations were formed not only in the U.S., but Canada, Mexico, the Caribbean and South Africa. Generations of young people heard their first orchestra concert, piano virtuoso or opera star at a Community Concert.

In the 1990’s, Community Concerts and CAMI dissolved their relationship, and today, independent concert associations all over North America draw artists and attractions from many sources. Hemet Community Concert Association was founded in 1972, and over the ensuing decades, Hemet has heard concerts by some of the world’s finest musicians, enriching the cultural climate of our Valley.

Since 2003, we have been an independent presenter, and have expanded our series to five concerts each season—three classical, one jazz/pop and one folk/world. This diversity seems to suit our audiences, which range from children to retirees. The tradition of bringing artists and audiences together continues to flourish!

• Angel, $300.00 and above, 5 tickets for each concert
• Benefactor, $225.00, 4 tickets for each concert
• Sponsor, $175.00, 3 tickets for each concert
• Patron, $125.00, 2 tickets for each concert
• Associate, $75.00, 1 ticket for each concert