Survival of the fittest? (Saving a relic, part one)

Originally published July 13, 2011

In full recognition of what seems to be looming as a worldwide cultural crisis, a recent NY Times article discussed survival strategies for the modern day orchestra.  Interestingly enough, the banner photograph was that of the Louisville Orchestra, which made a name for itself in the 1950s by commissioning and recording new works from the likes of (then young) Elliott Carter, Lukas Foss, Paul Hindemith, Roy Harris and Gunther Schuller.  The ensemble also attracted cultural luminaries, including Dmitri Shostakovich and Martha Graham to visit the city.  Of course, by now we know the rest of the story:  despite its rich history and past glory, the Louisville Orchestra has also filed for bankruptcy protection.

The Times piece does go on to discuss possibilities for orchestral revitalization, including models that many ensembles are considering--with mixed results.  These include:

1. Reducing the number of full-time musicians and replacing with freelancers.  An example of this kind of plan in action is the Orchestra of St. Luke's (in New York City) which employs wholly a freelance structure.  Of course this can be akin to a non-union factory (or Megastore) in which the employees are nothing more than independent contractors without health insurance and other benefits often available in other areas of the workforce.
2. "Streamlining operations" (whatever that means) as practiced in the Nashville Symphony, an orchestra that emerged from its own bankruptcy in 1988 and is now enjoying more than a modicum of success.  Ticket sales have increased nearly three-fold since the orchestra's 2006 move to the new Schermerhorn Symphony Center.

Schermerhorn Center, Nashville, TN

But where the article hits the nail on the head is with regard to the exorbitant salaries paid to the part-time (spending no more than ten weeks with the ensemble) music directors, "superstars" whose remuneration far exceeds that of the players in the orchestra.  In 2008-09, Lorin Maazel was paid $3.3 million in at the close of his tenure with the New York Philharmonic; Michael Tilson Thomas (San Francisco):  $1.6 million; Charles Duthoit (the now-bankrupt Philadelphia):  $1.2 million.  Even in our small city of Dubuque, a full one third of the orchestra's payroll is given to the music director and executive director.

Soloists can also demand high fees, except many insist that big names will put people in the seats.  This may be true in the big cities, in which many arts organizations are scrambling for patrons and their dollars, but I cannot believe that a smaller community would not be equally as excited to hear one of "it's own" (from the orchestra itself) perform in a solo role.

The article does close with an interesting thought or two:  "Orchestras have been slow to adapt to changing times, but a younger generation of prodigiously talented, hard-working and forward-thinking musicians are fostering innovative ways to attract fresh audiences and remain vital to their communities. New, streamlined ensembles, we may hope, will rise from the ashes of old ones. Perhaps they’ll even lose the white tie and tails"

Now there's a thought.  After all, it was famed cellist Lynn Harrell who, when commenting on performance attire, noted that men all looked like "Captain von Trapp's butler."