Others speak out...

Originally published July 13, 2011

Here is another take on some of the issues facing the modern day orchestra, this one related to the artistic vacuum prevalent within many American orchestras.

Community activist Jeff Bruce writes of a renowned school music program in crisis (in Los Angeles--surprise!) and wonders what will might be done to preserve the program, millions of dollars worth of equipment and, most importantly, the future of the kids.

Good news for a change, coming to us from the self-proclaimed "live music capital of the world," Austin, Texas.  (I've been there; they may be right.)

Finally, a 2003 NY Times article on "How to Kill an Orchestra" followed by an in depth look at the "Coolest Band in the World."  You'll be surprised to find out who it is...I'll give you a hint:

"When the (orchestra) was created in 1882, its fifty-two musicians decided to do business differently. They wanted a democratic system that not only involved the musicians, but empowered them as well. So they came up with a musical mission informed by a strong entrepreneurial spirit....It is currently organized as a Public Foundation, a structure that I have never previously encountered and which is relatively new to the Orchestra....The Board of Trustees of the Foundation numbers ten....Reporting to the Trustees is a Joint Executive Committee of four, comprising the Chief Conductor, the General Manager and two musicians who are both Chairs of the Orchestra. It is this smaller group that sets the strategic and artistic direction of the Orchestra, chooses the programs, and settles any issues. The Orchestra also has an advisory Orchestral Committee Council of five which is used as a sounding board for the two musician Chairs. In addition there is a seven-strong Employees’ Council, with no artistic role, but which is responsible for contractual and personnel matters for all, including non-musician staff members. So, it is the musicians who manage themselves, from scheduling concerts, to making tour arrangements, or handling delicate personnel matters."

Stats:

• Size of orchestra's hall:  2400 seats
• Percentage of seats sold:  98%
• Season:  100 "regular" concerts + 30 on tour
• Rehearsals:  Up to four per week (c. 2-1/2 hours long--no clock in sight)
• Benefits:  Six weeks paid vacation, orchestra pays 50% of health insurance premium, mandatory retirement age of 65 (soon to be 67).
• Endowment:  0, that's right, 0.
• Deficit:  0, again, that's right, 0.

An interesting model and one which should probably be copied elsewhere (it actually already has, but not, I am sad to say, in the U.S.).

One last hint for those who haven't already peeked: