Monthly Archive for May, 2008

Jay Fishman responds to Trafford quotes

Jay, who is Symphony violinist Joyce Fishman’s husband, is the Executive and Artistic Director of the Minnesota Sinfonia. He has extensive experience in running an orchestra, especially in developing its support base and outreach.

In response to the Dispatch article, Symphony musicians propose salary cut;

I suspect that I am not the only person who sees the irony in Columbus Symphony Orchestra Board Chair Buzz Trafford’s questioning the credentials and knowledge of Daniel R. LaMacchia. When Mr. Trafford states,

Mr. LaMacchia is a stockbroker and I’m not sure how much he knows about the operations of a symphony orchestra,

he is simply engaging in the time-honored practice of a smear campaign. Mr. Trafford, who is a managing partner in the law firm of Porter, Wright, Morris and Arthur, knows full well that Mr. LaMacchia is in fact a financial planner with a degree from the Wharton School of Business, but by lumping him with a professional group that is held in very low public esteem, he is trying to shape public perception with guilt by association.

It is interesting to point out that Mr. Trafford (who is a member of a profession that also is held in very low public esteem) does not question Mr. LaMacchia’s numbers, or the specifics asserting that the Symphony is (over) spending far too much money on non-artistic items.

And Mr. Trafford shows his own ignorance about running a non-profit organization, when he criticizes Mr. LaMacchia’s insistence that in-kind (donated) services be included when talking about overall budget size.

Definition: In-kind services are those goods and or services that are donated to non-profit organizations (and for the most part are tax deductible) that have specific monetary value, and in most cases would have to be purchased or hired by the organization if they were not donated.

Certainly, with Mr. Trafford’s experience of being the board chair for the past two years (let’s put aside his leadership qualifications – given that there has been a multi-million dollar deficit during his tenure), he is fully aware that most funding organizations to non-profits require statements of in-kind goods and services and their monetary values. They require this information because these donations not only save the organization real money, but also demonstrate community support. Given that Columbus Symphony in-kind services amount to a very impressive $1.600,000, can we speculate that Mr. Trafford is really trying to gloss over the true nature of the orchestra’s community support?

While we are speculating, shouldn’t we all wonder why the payments to CAPA (which manages the Ohio theater and rents office space to the Symphony) have increased from $468,641 in 2005 to $1,080,235 this past year, even though the Symphony has the same amount of office space, and plays fewer concerts in the Theater?

And while we are questioning, why, if Mr. Trafford and the Board insist that the Symphony budget be cut by 20%, would they not simply suggest a 20% cut across the board, including the musicians’ salaries? Instead they insist on draconian cuts of 40% for the musicians alone, only 10% cuts for management, and one can only imagine what kind of future increases for payments to CAPA?

There are many questions that Mr. Trafford and his associates need to answer before they can start questioning others.

Jay Fishman

A Message of Hope for Columbus

The arts are alive and well all around the country, especially in Columbus, Ohio.

The non-profit culture industry provides over 5.7 million jobs and accounts for over $166 billion in economic activity every year, including over $330 million in Greater Columbus alone! That’s 11,000 jobs in Columbus.

Attendance is up, downloads are rising faster than for any other musical genre, and the New York Times is proclaiming that this could be “the Golden Age for Classical Music. The Columbus Symphony, led by the charismatic Junichi Hirokami, is playing better than ever.

But for some reason, Columbus has been told much the opposite about the arts in their city. The citizens of Columbus have been led to believe that classical music is dying, that funding is drying up, that it can no longer afford its fine orchestra, and the burden has been placed squarely on the musicians of the orchestra.

The truth is, the problem with the Columbus Symphony is not its musicians. They are playing at levels deserving of much higher salaries. Musical reviews have been rave; attendance is way up.

Total musician expenses fell by $0.9 million over the past 4 years. The cost to maintain the “heart of the orchestra” has been under-budget or on-budget for 3 of the last 4 years. When their portion of expenses went over by 18% in 2004, the musicians took an 11% paycut in 2005 to save $1.3 million, which more than covered that gap.

The real problem for years has been gross mismanagement of the non-musician part of the budget. Over-spending their own budget by $6.5 million in the past four years, management has failed the organization by an obscene margin.

Just a few examples of these cost overruns:
157% ($1.7 million) over budget in marketing expenses in 2004,
134% ($635,777) over spending in development expenses in 2004;
70% ($969,218) in the red for marketing again in 2005,
62% ($979,738) over budget in 2006.

Overall, management overspent their own budget by over $3 million in 2004, nearly $1.5 million in 2005, $1.3 million in 2006 and $736,000 in 2007. None of this overspending was caused by musician costs.

That’s $6.5 million in non-artistic cost overruns in 4 years.

The musicians have proposed a solid plan with the hope of taking us all forward. To keep within the confines of a $9.5 million budget, they are offering to take 7% paycuts to produce savings of $500,000, even though their portion of the budget for 2007 is 4.5% ($297,637) in the black. (*see source footnote below)

I hope citizens would agree, management needs to take responsibility for its own huge cost overruns and to find ways to cut the non-artistic budget by $2 million. Fairness still counts for something, doesn’t it?

Then we can all move forward and get back to the music. Whole communities of volunteers are eager to help; grassroots organizations have already begun to prove their ability to gather support. All of Columbus wants to see Picnic with the Pops, and to see TBDBITL play their hearts out with the Symphony. What would a Columbus summer be without Picnic with the Pops?

The musicians of the Columbus Symphony have offered their commitment to the future of the orchestra and to serving the community of Greater Columbus, which deserves the best.

The citizens and political leaders of Columbus must ask why this board and management, while charged with serving their community, is promoting such a negative view of the future of the arts in your city. If you see negative connotations in the news of the musician’s reasonable proposal or its logic, ask Mr. Buzz Trafford to resign as board president so someone else can really save the Symphony.

(*sources: details of CSO budget research by Dan LaMacchia, orchestra comparisons and the musician’s proposal can be seen at Symphony Musicians website)

Bruce Ridge’s Commitment

I had a chance today to talk to Bruce Ridge, chair of International Conference of Symphony and Opera Musicians (ICSOM). He is in Columbus for a few days to try to alleviate the communication crisis surrounding the Symphony.

He said something which struck me. Not only is he passionate about the exciting future of live orchestral music, but he takes a personal interest in the well being of orchestral musicians. He considers the 4000 members of ICSOM orchestras around the country as his family, and he loses sleep worrying about their personal fates as human beings. I am deeply moved by that commitment.

The following excerpts are taken from a letter Bruce wrote to the Dispatch Feb. 6, 2008. Despite its positive message, his words were never published.

No business model that suggests that a board can solve financial difficulties by offering an inferior product to its consumers will ever be successful.

The question for Columbus should not be “can we continue to afford to support our orchestra”, but rather “how can we afford not to?” Too often lost in the discussion of orchestras in America is the simple fact that the arts are good business. The non-profit culture industry provides over 5.7 million jobs and accounts for over $166 billion in economic activity every year, including over $330 million in Greater Columbus alone!

Across the country, exciting things are happening for symphony orchestras. They are growing, they are thriving. Although we often hear a negative portrayal of the health of orchestras, in reality attendance is up, downloads are rising faster than for any other musical genre, operas are filling movie theaters, and the New York Times is proclaiming that this could be “the Golden Age for Classical Music.”

Why should Columbus be left out of this renaissance? The Columbus Symphony is recognized as one of this nations’ finest. The orchestra enriches the cultural life of the community, serves as an enticement for business, and promotes Columbus’ thriving reputation.

It is simply a failure of leadership that has led to this draconian proposal from the board, and indeed it is that very failure of leadership that results in the “diminished confidence” of those who might otherwise contribute to the orchestra. Why then should trust be placed in this radical recipe for failure when it was designed by those who are responsible for creating this atmosphere of “diminished confidence”?

The musicians of the Columbus Symphony offer a message of hope for this beautiful city. Their commitment to community service is inspirational, and support is already pouring in from musicians and leaders all over the world. The citizens and political leaders of Columbus must ask why this board, while charged with serving their community, is promoting such a negative view of the future of the arts in your city?

Audition Blast Off

If the Ice Capades are the musician’s daily life, auditions are the Olympics.

Tonight, to begin the process of learning “the list” for one audition I’m taking, I opened the xeroxed and stapled packet of required excerpts to the first page. Many orchestras supply the music to clear up any confusion regarding various editions, articulations, dynamics, tempos and specific sections to be used. This list was concise, serving as requirement for a taped, preliminary round.

I put on an acceptable reed (not a great one, to challenge myself), turned on the recorder and began to play from the beginning of the list. No matter what happened, I kept going, as if it were the audition itself. Most of these excerpts were familiar to me, both from previous auditions and from many years as an orchestral player.

My purpose in doing this exercise was to grasp the big picture of what needed serious work and what only needed tuning up, both in particular excerpts and my general technique. This test also honed my concentration toward the larger perspective of the whole list as the goal, rather than individual excerpts each with it’s own myriad challenges.

Afterwards, as I listened to the playback recording, I found with relief that I wasn’t too far off the final target. Tempos were fairly steady, pitch good, tone good. A few of the excerpts were less deeply ingrained for me, being “tutti” parts, where everyone is playing, rather than the more common solo parts asked at auditions. Those definitely needed some wood-shedding to get them up to the level of the others.

The most important lesson I learned from this crash debut practice session was the need to work on consistency, probably the most elusive of the musician’s skills. I remember Olivia Gutoff, my Junior High School band director in 1974, saying to me, “You cannot just practice until you play it right; you must practice until you cannot play it wrong!”

Those wise words have stuck, like a broken record, deep in my musician’s soul.

I did a google search for Olivia Gutoff, and found her Artistic Director’s summary of the ‘99-’00 season of the Maryland Classical Youth Orchestras, a position she held for many years. After several congratulatory paragraphs, she ends with some suggestions as to how her students might spend their Summer vacation.

It is also time to make scales more fluent, in-tune, and beautiful. And don’t forget that chromatic scale! Take music books you don’t generally work out of, and sight-read often. Ask your teacher to help you sight-read. It also helps to play duets, either with your teacher or with a friend.

One can never be over-prepared for an audition! Keep in mind that obstacles are those frightful things you see when you take your eyes off the goal.

Ah, Olivia, you haven’t changed a bit! And I am a better musician for having known you.

Brilliant Letter from CSO bassist Russ Gill

Russ tackles the three important issues vital to understanding and solving the CSO crisis: 1) the board’s apparently insidious desire to kill the orchestra, 2) the urgent need for an outside mediator and 3) the need for more awareness (marketing) of the potential greatness of the CSO. Russ, Columbus and your colleagues in the orchestra thank you from the bottom of our hearts.

The Columbus Symphony Orchestra board of trustees’ statement says a generous gift merely “defers to another day the inevitable suspension of operations due to lack of funds” (”Gift lets symphony finish season, but after that . . . ,” Dispatch article, April 29). Is that board doublespeak?

In other words, it doesn’t matter how generous all the donors are, the orchestra will close down no matter what. Does this message inspire the community to give to the CSO?

The best way to identify problems would be to bring in an orchestra-management consultant. The president of the musicians union has agreed to this. Board President Robert “Buzz” Trafford has not. Does he have something to hide?

It is critical for an independent consultant to come in and get this organization running smoothly. Once this is done, the money will follow. Our community needs someone who understands the importance of our orchestra and is committed to finding a solution. Some see this orchestra teetering on the edge of a cliff. I see it teetering on the edge of greatness.

Letter from Paul Josenhans

Dear Sir:

My wife and I were quite dismayed by the photo of the conductor of the Columbus Symphony waiting at the airport for what might complete his last trip to Columbus, and for the image of Columbus that will prevail if the City is not able to maintain its first class orchestra (although we commend the Dispatch for featuring this and other positive articles relating to the Symphony).

It seems that what is needed now is a sort of “emergency rescue fund” in three components, first to allow contributions to rescue this summer’s Picnic with the Pops series; second to garner a fund to support a 2008 to 2009 regular season; and third and perhaps most importantly to initiate a fund for long term endowments of the orchestra and its various chairs.

We get the impression from friends (not orchestra members) that some donors are reluctant to make further substantial contributions because the management has not done a good job of managing and accounting for prior contributions. While we don’t know if this is true, it certainly may be a perception that hinders some fund raising efforts. Could this be addressed by setting up one or more trust funds, independent of the Symphony’s board of trustees and management, to administer the collection, use and accounting for these future donations. Would the Columbus Foundation be able and willing to set up designated use funds in this regard ? Would it be feasible to have one of the major accounting firms take responsibility for administering such fund(s) on a pro bono basis ?

We also need more of a “can do” attitude on the part of the Symphony Board and the full time manager it selects going forward. A manager who consciously or subconsciously regards the Symphony as a dinosaur not only denigrates the orchestra and its members, but reveals an attitude that perhaps the trustees should seriously call into question.

Contributions from small as well as large donors are needed. Are there opportunities for “naming rights”, perhaps for each Picnic with the Pops concert ? Or contributions from supporters who might love to have a chamber music performance at their homes for their friends and associates ? Or other imaginative ideas ?

Columbus has invested, over the years we’ve been living here, in various expensive undertakings, including Ameriflora, professional sports teams and sports venues, and most recently in a new stadium for the Columbus Clippers — a wonderful team, although still a farm team. Certainly the Symphony has proven that it deserves the same kind of support and investment. We consider it to be “major league” on the cultural scene. But even if it were a farm team like the Clippers, doesn’t the community see the need for the same kind of dedicated support and investment ?

Paul J. Josenhans

So, Columbus can’t afford a world class Symphony?

Clear Channel, an aggressive media corporation poised to take over the world’s entertainment businesses, boasts the following radiant statements about Columbus’ development potential. Notably, these facts come from Columbus’ own Chamber of Commerce! Hmm, who says Columbus can’t afford a great orchestra? Among the Chamber’s board members are Buzz Trafford and Ty Marsh, both on the Columbus Symphony board.

Columbus, a thriving city of 733,000 is the capital and the largest city in the state of Ohio and the 15th largest city in the nation. Columbus is one of the Midwest’s most valuable business locations because of its accessibility. Nearly 50% of the United States population is within a 500 mile radius of Columbus. In addition to its central location, the region has two international airports, a foreign trade Zone supporting international service, with more than 150 million square feet of warehouse space, Port Columbus International Airport boasts non-stop commuter flights to 32 cities including Chicago, Los Angeles, Washington DC, New York, and Las Vegas.

Columbus has the best economy in the state of Ohio and rank in the top 10 overall strong and diverse economies in the U.S. Downtown Columbus has over 100,000 jobs, more than 4,000 new housing units and the $2 billion Nationwide Arena District. Nationwide Arena is home to the newest National Hockey League Franchise, The Columbus Blue Jackets and with the addition of Major League Soccer’s Columbus Crew, Columbus has truly evolved into a “major league” city.

Columbus is filled with art, theater, shopping, and culture. The array of entertainment options allow Columbus residents and over 10 million overnight visitors to do everything from cheering on their beloved Buckeyes to taking in one of their favorite Broadway shows at the Palace Theater. Other major attractions in Columbus include the world renowned Columbus Zoo and Aquarium, presided over by Jack Hanna, COSI (Center of Science and Industry), Franklin Park Conservatory, and the Ohio Statehouse. Tourism is a $5 billion industry annually for the city.

Columbus is home to the largest college campus in the United States, The Ohio State University, several fortune 500 companies, and many other large corporations including: Nationwide Insurance, The Limited Corporation, Wendy’s International, Bob Evans, Worthington Industries, White Castle, Cardinal Health, Huntington Bank, Abercrombie & Fitch, Victoria Secret, Bath & Body Works, and Consolidated Stores. Clear Channel Outdoor is the largest outdoor advertising company in Central Ohio with nearly 1,200 Bulletins, Posters, Wallscapes, and Digital Displays.

Source: Columbus Chamber of Commerce

Letter from Gisela Josenhans

Gisela is an active supporter of the Symphony and the arts in Columbus and a member of the Women’s Association of the Columbus Symphony Orchestra.

The source of the death knell for the beloved Columbus Symphony Orchestra has revealed itself in the May 16 Columbus Dispatch article about the multitude of community support efforts, the orchestra and the incredible conductor. Mr. Beadle’s negative attitude and commentary at the end of the article says it all. Instead, he should have sung the praises of such efforts and embraced the widespread, creative energies of such efforts to maintain the symphony.

He apparently kept the true picture of the orchestra’s financial condition to himself and the board, instead of facing the financial needs and undertaking the broad and creative development efforts that are required to maintain a first rate orchestra.

Several years ago, the musicians set such a wonderful example by giving up thousands of dollars from their salaries to allow the orchestra to continue. With the proper development and fund raising efforts, the community would have followed their example.

The orchestra contributes in innumerable ways to all our lives. It is a shame that mismanagement, or perhaps neglect, or perhaps a less than supportive attitude of the management and some trustees has resulted in the risk of loss of this resource.

Management needs to find a way to reinstate the Picnic with the Pops series as a way of preserving the orchestra and continuing to afford the public the tremendous joy of musical summer weekends.

The orchestra needs new management with community leaders who love the orchestra, who properly manage its finances and financing, and who will have an attitude that will foster creative and imaginative plans that will enable central Ohio to continue to enjoy the artistic excellence of the orchestra’s exceptionally talented musicians and maestro.

Very truly yours,

Gisela E. Josenhans

Great fun with dinosaur metaphor

Bruce Hembd, a French Hornist from Phoenix, had a “hay” day with Tony Beadle’s ridiculous remark comparing the symphony to a dinosaur which needed to be fed 500 bales of hay a day.

Check out his hilarious photo-shop assembled poster and a review of the comment here. It’s worth clicking on the photo to enlarge it and see the detail.

Protected: What’s behind the sabotage?

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