One person making a difference

In comparing the contractual problems of the Ft. Worth Symphony and those past in Atlanta and Minneapolis (the Minnesota Orchestra), there are striking similarities: entrenched management and board-controlled media come to mind. Of course, both Atlanta and Minnesota ended in ugly and extended lockouts. However, in both cases there was a major difference.

Donald Runnicles and Robert Spano
(photo Jeff Roffman)

In Atlanta, Music Director Robert Spano AND Principal Guest Conductor Donald Runnicles both spoke out on the side of the players. Their joint letter to the ASO management said, in part, “We ask the board and management to acknowledge the sacrifice the musicians have already made, and to examine other ways and areas to establish sustainability.” Spano went one step further in an interview with the Washington Post, "This is not a normal labor dispute. “This is a question of whether Atlanta wishes to preserve its legacy of having a great orchestra or having a minor league orchestra. It’s not a question of payroll or health care or anything else. It’s a question of: Will Atlanta remain an important, major league orchestra?"

Osmo Vanska

Finnish conductor Osmo Vanska, Music Director of the Minnesota Orchestra, went one step further: he resigned after that orchestra's lockout had lasted a year (it would eventually eat up 16 months). During that time, he came back to lead "The Musicians of the Minnesota Orchestra" in three sold-out concerts (only two were originally scheduled). When the dust had finally settled, the New York Times reported:

He (Vanska) served an ultimatum, threatening that if the lockout were not lifted in time for the current season, he would resign; as good as his word, he did. He conducted the locked-out players in concerts that they themselves organized. And he engaged in what some have called slash-and-burn tactics, dropping little verbal bombshells aimed especially at the president, Mr. Henson, essentially demanding his resignation.

Even now, he says that he and Mr. Henson “are not going to work together” in the four months that remain of Mr. Henson’s tenure. Mr. Henson said, “I will continue to collaborate with colleagues in whatever way best serves the organization in the months ahead.”

Does Mr. Vanska regret any of those tactics?

“I felt then, and the feeling is still strong,” he said, “that the orchestra needed me and I needed the orchestra.”

He finds positive aspects in the current situation: “a once-in-a-lifetime opportunity.” More people know about the orchestra than ever did before, he said, and the players have learned some of what they can accomplish through their own resources.

“It will take time to rebuild,” Mr. Vanska said, “but it might be a surprisingly short time.”

“Maybe this had to happen to give us the idea that we must find something,” he added, “some way to work together.”

Note: Vanska returned to the helm and recently led the orchestra in a highly-touted European tour.

This is leadership, in both cases from the public face of the organization. Stakeholders outside the organization care little about Boards and budgets; they care about the music and the people making it.

As for Fort Worth Music Director Miguel Harth-Bedoya? Silence...

JUST WHEN IT COULDN'T GET WORSE....

This city ought to be able to afford its orchestra

The contract turmoil surrounding the Fort Worth Symphony has reached a new low. As previously reported here, news stories from the Star-Telegram have been slanted toward management. Now, a highly provocative editorial has appeared on those same pages:

Several very smart and dedicated people have worked for more than a year on a new labor agreement between the Fort Worth Symphony Orchestra Association and its musicians, aiming to continue world-class symphonic music performances begun more than a century ago.

It hasn’t worked. The musicians have gone on strike, and the orchestra’s season-opening performances last weekend were canceled....

The musicians, represented by Local 72-147 of the American Federation of Musicians, are still smarting from a 13.5 percent pay cut they accepted in 2010 to help the FWSO weather the effects of the Great Recession. (Wasn't the nation in the midst of an economic comeback by 2010?)

While frequent references to that cut might help gain public sympathy, that money is gone and won’t come back.

The union negotiating committee worked with association managers and a federal negotiator to develop a new contract offer. Although the committee recommended approval, the musicians rejected it “overwhelmingly,” union representatives said.

The two sides portray the numbers differently, but the rejected four-year contract contained pay cuts in the first year followed by slight increases in later years, putting the musicians a little above their current salaries — which average $62,000 plus health benefits — by the fourth year.

It’s hard to imagine that such an offer, or something very much like it, isn’t the best the musicians can get. Still, they’ve made their position clear.

These smart and dedicated people could be talking about the end of the FWSO.

Is the editorial implying that the musicians are the "smart and dedicated people"? Management all to easily forgets that stakeholders (i.e. the butts in the seats) come to concerts to hear the music. Give them a quality product and they'll be there. Expand outreach beyond the "usual suspects" in the donor pool, and the funds will be forthcoming.

Gary Wortel

Something that is missing in this one-sided media war (circus?) is an important fact: Star-Telegram Publisher Gary Wortel is a member of the FWSO Board of Directors. So, just like we saw in Minnesota so few short years ago, the Board controls the local media......but not all of it.

The Dallas Morning News has offered a much more comprehensive look at the situation. While reiterating the company line, it has offered a different perspective from the side of the musicians themselves:

After years of cuts and irresponsibly refusing to bargain further, the future of the FWSO is now at stake. The musicians continue to call on management to return to the bargaining table in the interest of coming to an agreement and ensuring the orchestra's very existence.

We want our audiences and the citizens of Fort Worth to know how much we regret that we are forced to take this extreme step," said Julie Vinsant, a bassist and member of the musicians' negotiating committee. "We call on our management to come back to the table so that we can continue providing great music for our great city. We are very thankful for your continuing steadfast support....

Read the entire article for the whole story.

Read more here: http://www.star-telegram.com/opinion/editorials/article101444512.html#storylink=cpy

Read more here: http://www.star-telegram.com/opinion/editorials/article101444512.html#storylink=cpy

THE BAD, THE WORST, AND THE UGLIEST

Recently I chronicled happenings in three American orchestras, noting that life was good in San Diego (with the best weather in the U.S., it would be hard to beat), rumblings were coming out of Pittsburgh, and the situation in Fort Worth? It hasn't gotten any better. Here's an update:

In Pittsburgh:

Life for symphony musicians in the City of Three Rivers (and big changes from the days of Big Steel) hasn't improved. The orchestra is stilled mired in million dollar + deficits and the orchestra's contract expired a week ago. Since then, things have seemed eerily quiet. Judging by recent history in the overall business (think Atlanta, Minnesota), this is definitely not a good sign.

Pittsburgh, where the Pirates are mired in 3rd place and the orchestra?
It is a gorgeous view, however.

In Philadelphia (what? again?)

The once-great ensemble (remember Stokowski and Ormandy) limped out of its 2011 bankruptcy proceedings with hope for the future. That hasn't happened. Peter Dobrin reports in the Inquirer, Musicians and management of the Philadelphia Orchestra Friday agreed to continue talking for an unspecified period of time beyond the end of the current labor deal, which had been set to expire at 12:01 a.m. Sept 12.

Management had offered no raise for two years and a mere one percent in each of the following three. As of now, no further negotiating sessions are scheduled, but the two sides seem amenable to a "play and talk" agreement for the immediate future. Personally, I trace the orchestra's financial problems to at least three areas:

Philadelphia's Academy of Music

• The orchestra formerly performed in the historic Academy of Music. Frowned on for less than favorable acoustics (although Stokowski and Ormandy seemed to make them work), the flashy, new Kimmel Center was built down the street. It's important to note that the orchestra, instead of being the landlord, is now a tenant. That cannot be financially prudent in difficult times.

• Management. The current CEO is Alison Vulgamore, she who left the Atlanta Symphony in shambles before skipping town. How does this continue to happen? Beats me.

• The fall-out from the Eschenbach years. The orchestra took a great slide in overall quality during the music directorship of Christoph Eschenbach. The infusion of exciting conductor Yannick Nézet-Séguin hasn't been enough to reverse the trend and bring back the faithful.

Fort Worth: On Strike

The musicians called management's bluff of its "last, best offer" of continued cuts and went against the recommendation of its union and went on strike at 12:30 PM Thursday. While the players seemed willing to play and talk, management (that is, out-of-her-element CEO Amy Adkins) went ahead and canceled opening-weekend concerts.

Management is also attempting a war of words in the press: The orchestra employs 65 full-time musicians with an average salary of $62,000 and health benefits. The proposed contract that musicians rejected included a significant pay cut in the first year and then small, incremental pay raises in the following three years. By the fourth year, the pay increases would have resulted in principal players being paid more than $70,000 a year. (From the Post-Telegram)

Unfortunately, this isn't true. Base salary under a new agreement would be $54K. Mentioning principal player's salaries (which are normally negotiated separately) is an unprofessional way of ingratiating the public. We pay $70K a year! Isn't that a lot of money? One has to wonder what the CEO (the former Development Director) is paid some $167K, according to the organization's most recent IRS 990 form (2014).

The basic problem is a simple one. Fort Worth has burned through at least five development VPs since Adkins (herself in that role for 11 years) in the past six years. Leadership is needed in this all-important area; the buck does stop at the top.

Interestingly enough, the Musicians of the Fort Worth Symphony (under that title) are performing next weekend with the local ballet. They have contracted themselves under the terms of the former contract with the orchestra. That little bit of goodwill should go a very long way.

Coming soon: the 2016-17 Quad City Wind Ensemble Season

CORRECTION: The local newspaper is the Fort Worth Star-Telegram.

Read more here: http://www.star-telegram.com/entertainment/arts-culture/article100625872.html#storylink=c

The Good, the Bad, and the Unknown

First, the good:

The San Diego Symphony, California's oldest at 106 years, announced a new five-year contract with its musicians. The average salary will raise from $70,000 to $80,000 over the length of the agreement. “We agreed to a contract structure,” noted CEO Martha Gilmer, “that respects the musicians of the orchestra and creates the best working atmosphere for their artistic growth while exploring new opportunities to strengthen the orchestra’s financial future. I could not be happier with the result, and feel that we have developed greater understandings that will enhance our working life together.” (reported in the San Diego Union Tribune).

While the upcoming season will be the last from Music Director Jahja Ling, the orchestra is in the midst of a worldwide search and is embarking on an ambitious plan of improvements to its outdoor concert venue.

Bayside Performance Center (foreground)

Up close

The bad:

The Pittsburgh Symphony is the second Pennsylvania orchestra (Philadelphia went through bankruptcy proceedings in 2011) to experience serious financial problems. President Malia Tourangeau tells the Pittsburgh Tribune-Review that the organization is at a "critical crossroad" after a $1.5 million deficit to close out the recent fiscal year. The orchestra's pension fund needs $10.4 million in the next five years.

The Symphony has only recently begun multi-year financial planning. “I was equally as surprised as everyone else when we did this 3-5 year projection and saw our cash obligations,” Ms. Tourangeau said. “In fact, I was a bit stunned to see what I was charged to turn around.”

AND, of course, the current contract expires on August 4. This does not bode well.

Heinz Hall, Pittsburgh

And the unknown:

The Fort Worth Star-Telegram reports that the symphony and the musicians, embroiled in a protracted labor dispute, reached a tentative contract agreement that still needs to be approved by the musicians. No details have been forthcoming.

THE GREATEST SYMPHONY OF ALL TIME! (and more)

Since cat photos and videos have taken over the Internet,
I had to include a shot of Allegro.

Could it be Mozart, Tchaikovsky, Mahler? Of course not, it's Beethoven! But which one? It's not the symphony you're probably thinking about....

Read more here.

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The Pittsburgh (PA) Schools change course and DOUBLE the number of music teachers serving grades 4-8. Now EIGHT teachers will be travelling among 23 schools, once every seven days. A vast improvement, but still not good enough.

* * * * * * * * * *

Anthony Tomassini puts into print something I've been saying for years.

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A friend of mine is visiting the UK and I urged him to go to the Proms. As the only concert that fit into his schedule included a Brahms piano concerto, he hemmed and hawed. But then this report, "The Brahms was heavenly. Peter Serkin was the soloist. Rich, resonant orchestra along with one of the most beautiful sounding Steinways I've ever heard." Interesting that Peter was the soloist. My favorite recording of both concertos is an LP with his Papa, Rudolf, backed up by George Szell and the Cleveland Orchestra.

* * * * * * * * * *

COMING SOON: The 2016-17 season repertoire of the Quad City Wind Ensemble.

Why is opera a "big deal" everywhere except at the Met?

Well? That really is a toughie.

Norman Lebrecht, no fan of the Met, and even less so of its CEO, Peter Gelb, recently posted on his Slipped Disc blog:

The Munich opera festival has announced the sum of its ticket sales: 99.92 percent.

The Tirol Festival at Erl has just turned in results: 99.19 percent.

Sold out, to all intents and purposes.

To anyone who has attended a sold-out event, the excitement exists before the curtain rises. That gives a huge lift to the performers and allows the administrators to plan with confidence for the future. The atmospheric benefit is felt all around the country.

It has been a very long while since the Metropolitan Opera had a full house. An air of defeat has settled on the house. Maybe the solution is to close off 2,000 seats and pretend that it’s full.

The absence of that full feeling diminishes everything that is presented on stage.

The Met: Yes, it's damn big (but full in this shot)

Of course, this isn't the full story. The Metropolitan Opera is a behemoth in every way. At nearly 4,000 seats, it is pretty much locked out of anything but the warhorses of old. Baroque opera--experiencing a resurgence just about everywhere? Forget about it. Anything considered a "chamber piece"? The same. I often wonder the same thing about Mozart. Don Giovanni had its first performance at a theater (still standing) that seats 650!

But what about these festival houses selling out?

National Theater, Munich: European intimacy

• National Theater Munich: 2,100 seats. At the festival, several smaller venues are employed for recitals and other performances. The festival runs from late June through July.

Festpielhaus Erl: that's one steep "rake."

• The Festspielhaus Erl is the main venue for the Tirol Festival. It seats 862 and the festival runs for roughly three weeks in July.

It needs to be noted that both avoid a conflict with the extremely popular Salzburg Festival, which runs from July 22 to August 31. For the record, the Großes Festspielhaus (Great Concert Hall) has barely more seats than Munich.

Großes Festspielhaus, Salzburg

While the Met has many troubles, including the mammoth size of the house (and more), it accomplishes nothing to compare apples to oranges.

On Fort Worth....On Hartford.....

Who is going to save it?

Just some brief notes:

Check out the terrible news about U.S. Armed Forces musicians here.

Here are the facts, as published by the Musicians of the Fort Worth Symphony, AND one individual musician's take on all of the "dis-chord" on the ground. It is more than painfully obvious that management is making little effort in development.

In Hartford, Steve Collins has been named Executive Director, ending the very odd arrangement in which the Landlord was also CEO of the symphony. That at least lends more transparency to the organization. Of course, the organization still remains strapped for cash, AND they just created an Assistant Conductor position! Go figure....

There's less than good news out of Baltimore. I'm digging into that.

There is also some good news out there. For example:

• In Detroit, cash for every musician.

• In Kansas City, endowing the Assistant Conductor position.