Archive for the 'Behind the Scenes' Category

Success story in Indianapolis

Published
by
dtclarinet
on July 28, 2008
in Behind the Scenes, Our Supporters, columbus symphony orchestra and symphony management
. 0 Comments

A graduate of the Eastman School of Music, BRUCE HEMBD has lived in Phoenix, Arizona (USA) since 1991. He performs regularly with the Arizona Opera, Southwest Brass, Quintessence Chamber Ensemble, Palo Verde Brass, Desert Chamber Musicians, Symphony of the West Valley, and the Tucson and Phoenix Symphonies, in addition to many other ensembles throughout Arizona.

Before moving to Phoenix, Bruce held principal positions with the Mexico City Philharmonic, Tucson Symphony Orchestra, and was also third hornist in the Fort Wayne Philharmonic. He has also freelanced in Europe (Austria and Germany), and in the Rochester (NY), Cleveland (OH), Houston (TX), and Chicago (IL) areas in numerous chamber ensembles, orchestras, musical shows and solo recitals.

Having grown up in Indy, I am a little familiar with their history. At one time the Indpls. Symphony performed in the dingy Clowes Hall on the campus of Butler University. Their salary was fairly average or even below average for the time back in the 1970’s.

When Raymond Leppard came to Indy in the late 80’s, he made it a mission to raise the bar significantly. The orchestra secured its own hall in downtown Indy (a beautifully renovated movie palace) and its management took an aggressive approach towards fund-raising and an endowment. Some housecleaning happened at all levels and the salaries and quality went up significantly.

The key element here I believe was strong leadership and a strong cooperative vision between symphony management and civic leaders.

Downtown Indy is a cool place to be on most evenings - not only are there symphony concerts, but also sporting events, restaurants and shopping. In comparing Columbus to Indy, we can only hope that a similar civic vision may be in store for Columbus.

Columbus Symphony like Indianapolis

Published
by
dtclarinet
on July 28, 2008
in Behind the Scenes, columbus symphony orchestra, symphony board and symphony management
. 2 Comments

(Note Tony Beadle’s comparison of the Columbus Symphony to the Indianapolis Symphony as a model to achieve. Indianapolis has a robust budget and very fair musician salaries. I believe Tony and Columbus musicians are now on the same page. Thank you Tony. Let’s hope any future negotiations continue with this kind of thinking.)

Contract clash puts fate of Ohio symphony in doubt
7/26/2008, 1:12 p.m. ET
By JULIE CARR SMYTH
The Associated Press

COLUMBUS, Ohio (AP) — Sentiment these days surrounding the 57-year-old Columbus Symphony Orchestra is not so much Beethoven’s “Pastoral” as the “1812 Overture.”

The orchestra’s board of trustees suspended operations on June 1 and canceled the popular summer pops series and at least 10 fall classical concert performances, citing a projected $3 million budget shortfall. Managers and musicians have clashed over the next union contract and what direction to take the organization in the future.

If there is a future.

“It’s sort of like we’ve been at the brink,” said executive director Tony Beadle. “And now we have to go together hand in hand and illuminate what an orchestra does and what it means to a community at large.”

Fellow musicians have weighed in with their view.

“One of the great American cultural accomplishments of the 20th century was to bring access to top-quality performing arts to cities across the country,” the musicians of the Cincinnati Symphony and world-renowned Cleveland Orchestra wrote in a letter of support for Columbus players. “The loss of the Columbus Symphony Orchestra would represent a setback for the 21st century.”

A recent study by the Columbus Cultural Leadership Consortium found that arts and culture in greater Columbus is a powerful economic engine, generating $22 for every dollar spent in central Ohio compared with the $7 national average.

The analysis estimated that $330 million is spent each year in the region by nonprofit arts and cultural organizations and their audiences, with the Columbus Symphony being in the top tier of the city’s cultural food chain.

“Many people look to the arts as an indicator of the quality of life in this community. This does not help that mission,” Beadle said.

“But, over and above that, is that the Columbus Symphony as a musical ensemble is fantastic. It’s just one of those lucky circumstances that all the right components were put together on stage to produce fantastic music.”

Musicians credit better salaries with attracting the quality players that have built the orchestra’s critical acclaim over the years. The lowest paid Columbus Symphony musician makes $55,200 a year, compared with $75,400 for the Indianapolis Symphony, $91,900 for the Cincinnati Symphony, $101,452 for the Pittsburgh Symphony and $110,760 for Cleveland, according to data from the American Federation of Musicians.

“I think it’s taken decades to build the Columbus Symphony into the high-quality organization it is,” said Douglas Fisher, president of the Central Ohio Federation of Musicians, which represents 53 symphony musicians. “Forcing us to accept the Draconian cuts proposed by the board basically would destroy everything we’ve built.”

Board president Robert Trafford has said reaching a new agreement with the musicians’ union is the only way to rescue the symphony.

The board’s initial proposal sought to reduce the symphony’s annual expense budget from $12 million to $9.5 million, or 12.5 percent, and the number of full-time orchestra musicians from 53 to 31. Paid weeks per year would fall from 46 to 34, cutting the playing season by a quarter.

“The orchestra has had a history of a structural deficit, which means, all other things being equal and without outside gifts, you’re outspending what you’re taking in,” said Beadle, who spent seven years managing the Boston Pops.

Beadle said Columbus musicians need to look to peer orchestras — such as Indianapolis — when determining whether their salaries are fair, not to the likes of the Cleveland Orchestra, one of the “Big Five” orchestras in America.

“I maintain everybody here would like to pay them as much as we possibly can, because we honor the profession and honor what they do, but start benchmarking yourself to your collegial orchestras,” he said.

Fisher said the orchestra’s structural deficit cannot be blamed on how much musicians are paid. After musicians agreed to an 11 percent pay cut in 2005, the Columbus Symphony’s budget for artistic expenses has remained on or under budget every year, according to a financial analysis commissioned by the union. Last year, ticket sales were up 24 percent.

“We agreed to $1.3 million in cuts in exchange for the promise of a new director, a new executive director and other changes,” he said. “They didn’t do the things they promised. It’s really a problem of governance, and that will continue until the right people are given the keys to the organization.”

Last year, the symphony joined with other area arts organizations — including Columbus’ ballet, opera, art museums and adult and children’s theater companies — in a joint fundraising effort aimed largely at making the best use of big donors’ dollars in a shared funding arrangement.

But the effort may have come too late for the symphony. Without a contract by Aug. 31, the 2008-2009 season will be canceled and, Fisher fears, reviving the orchestra could be impossible.

In hopes of retaining community interest and keeping musicians from relocating for other jobs, symphony musicians have put together self-funded summer concerts under the name Musicians of the Columbus Symphony.

Beadle is optimistic a compromise will be struck.

“We need to find it within ourselves to find the commonality of wanting to have a symphony orchestra, provide a lively community for musicians and serve the city of Columbus,” he said.

Personal note from my student

Published
by
dtclarinet
on July 28, 2008
in Behind the Scenes, Our Supporters and Teaching
. 0 Comments

This sweet note is from the parent of one of my students, age 14 going on 15.

We were thinking of you when we were hiking at Zion Canyon National Park in southern Utah. Robin LOVED it there–there are lots of ferny plants clinging to the rock cliffs on a trail that goes along (and into) the river–its absolutely breathtakingly beautiful. She took lots of close up photos of flowers and ferns. At one point she commented, “I wonder if Mr. Thomas has ever been here. I can just picture him playing his clarinet in this canyon.” I thought that was pretty cool and that you would like to know that she’s thinking about clarinet music on a hike in the woods!

Thank you to ALL VOLUNTEERS!

Published
by
dtclarinet
on July 27, 2008
in Behind the Scenes, Our Supporters and columbus symphony orchestra
. 3 Comments

Symphony Columbus, which has taken over for Symphony Strong, has been the backbone of support for the musicians of the Symphony. They have tirelessly worked to coordinate volunteers, spread the word, sell those unique T-shirts so our message will be brightly displayed by users and pique the curiosity of those who don’t know what’s happening, greet supporters as they come to concerts, gather information on possible future supporters, and many, many other tedious but vital tasks.

It takes countless hours to gather and organize volunteers who wish to help but need a specific task to be useful. Mary Greenlee, David Greenlee, Pam Conley and a host of others (including Donna Gerhold, Jonquil Tanner and Jayne Gocken) have offered a huge amount of their time, expecting no more than a thank you.

I’m sure I can speak for all the musicians in saying :

THANK YOU,
FROM THE BOTTOM
OF OUR HEARTS!!!!!.

We couldn’t have done this without you. And with your help, there is now hope that we can have a great Symphony in Columbus, as we know everyone wants.

Thinking outside the incendiary “box”

Published
by
dtclarinet
on July 25, 2008
in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management
. 4 Comments

I’ve decided that the path we are on is not going to get us anywhere. I removed the post about Tony Beadle. I may have my presumptions as to who it may or may not be, but that is not the point, at least not when it comes to looking where we are going. It’s like saying to the man responsible for maintaining a leak-proof boat, as you are about to go over Niagara Falls in a canoe, “You failed at your job of preventing leaks!!” Too late for that now.

I’ve also decided that all this bickering does no good. The situation is what it is now. Everyone should leave the past behind as well as they can and really look at ways to make this work in the present and future. The musicians cannot take all the financial responsibility, but it is not the Board’s fault entirely for the situation the symphony is in. Or, even if I think it is, the time has come to seek constructive solutions. I tried to explain this idea to an eleven year old son of a friend; If someone says to you, “you suck!” you feel it is your right to respond, “YOU suck!” and they in turn feel the same. It goes on and on until someone takes the high road.

As I see it, there are 3 main components to a successful symphony…the musicians, the Board, and the administration. (Addendum- I failed to mention one of the most important parts of a successful symphony- THE PUBLIC! No orchestra can consider itself a viable part of its city’s culture without passionate and persistent outreach to the community.) If these are not all working together in harmony and with trust in each other, no good can come of it, and there most definitely won’t be any success. New tactics and EARNEST, SINCERE negotiating needs to be happening. I feel like in the past few months, the major players in all this have been waging an elementary school playground battle, except that a lot of livelihoods are at stake. Maybe I’m crazy…or maybe I’m just asking too much from the people negotiating.

Mozart’s Café Chamber festival a Success

Published
by
dtclarinet
on July 23, 2008
in Behind the Scenes, Clarinet, Our Supporters, Performances and The Music
. 0 Comments

I just arrived home after a stimulating and busy day. I have to thank Mozart’s Café and Bakery for hosting a delightful evening (5-9 PM) of music and food. Everyone had a great time. Luckily the hot weather let up a bit so people could spill out onto the patio and listen to the music from afar. But no one minded. They mingled in and out if they wanted to hear one piece close up.

All the musicians involved, David Niwa, Ariane Sletner, Ken Matsuda, Luis Biava, David Thomas, Betsy Sturdevant, Robert “Woody” Jones, and Mariko Kaneda seemed to have fun playing a great variety of chamber music, from duos to trios to solos with piano.

I enjoyed playing an early Divertimento, K 229, of Mozart, written originally for two clarinets and basset horn, but arranged for two clarinet and bassoon, with my colleagues, Betsy and Woody. There was a blend between the three of us which, on occasion, went beyond three instruments and became one instrument, like an organ. I have to admit, sheepishly, that we didn’t rehearse. But we have played those same pieces together in the past, thought it was 15 years ago. I guess we have good memories.

I also felt at ease playing the Paul Jeanjean Carnival of Venice variations with the steady and focused accompaniment of Mariko Kaneda.

The food and pastries donated by Anand Saha, owner of Mozart’s, were spectacular and complimented the European music beautifully.

I do not think I am presumptuous in saying that all those involved would love to do something like this again.

I know Columbus loves us.

Somehow the news that the CSO management has canceled more of next season’s scheduled concerts seems like a mouse roaring in a cave. It appears to me like a vindictive and desperate move. Perhaps Columbus would agree. And only God and those in power in Columbus, I mean those REALLY in power, know why they seem to be trying to kill music in our City. Yet, perhaps God knows a bit better, and perhaps he is watching very closely.

Greg Kufchak, contributing balanced perspective

Published
by
dtclarinet
on July 21, 2008
in Behind the Scenes and Performances
. 0 Comments

Greg Kufchak, who has written another excellent article on the new blog, Columbus Symphony Musicians Blog, needs some mention of his background to give you perspective on the validity of his thinking.

With over 30 years experience as a technical and business support professional in the field of Information Technology, Greg was a past vice-president of the Columbus Symphony Youth Orchestra Association. He also a graphic artist and designer; an audio/video producer; a luthier, owning and operating his own shop; and a composer and arranger. His family’s 6 children are all accomplished string players, 2 of whom have performed in Carnegie Hall.

New Musicians Blog

Published
by
dtclarinet
on July 19, 2008
in Behind the Scenes, Musician's Life, Our Supporters and Personal
. 1 Comment

Ever since my blog became a central place to disseminate information and opinions on the Symphony crisis, I have lost track of my original purpose for it: to write about music and life as a performer. Though I have gotten heavily involved, as I and all the musicians must, I would like to go back to writing about clarinet, reeds, mouthpieces, my favorite pieces, and other issues specific to my vocation.

So, I created a blog for all of you: musicians, supporters, detractors, volunteers, donors, and music lovers in general. ANYONE can write a post or comment. To comment, just click on the “COMMENTS” link at the bottom of any post you wish to comment on. To post you can send me your email and I’ll register you.

Several substantial posts by other writers have already appeared, notably one by Greg Kufchak, a professional recording engineer in Columbus, and whose son is an extraordinarily talented cellist. Here is his most recent article, Withholding of funding by major donors a referendum.

The blog is listed in the sidebar on the right side of the blog. It’s the Columbus Symphony Musicians Blog.

Rootless Directors and Ungrateful Musicians

Published
by
dtclarinet
on July 18, 2008
in Behind the Scenes, Columbus Cultural Politics, Musician's Life, columbus symphony orchestra, symphony board and symphony management
. 0 Comments

One commenter on my post Today’s Dispatch Article is worth quoting, not so much for his comment, but for the passionate response from Cameron Kopf, a “professional horn player throughout Northern California”, in his own words. Both are long comments, but I think they are worth your time.

Here is the comment from Steve S:

I appreciate you pointing out that Mr. Beadle is probably not the best person to have stated what he stated about Mr. Hirokami. That being said, I think there is a lot of truth to his statements. The music director does need to be a face, and does need to understand the way an American symphony orchestra works. Hirokami’s incredibly negative comments about his employer showed that lack of understanding. In the end, there is no way to know who’s really not doing their “job,” but what Hirokami did was just plain stupid. I wouldn’t be surprised if he doesn’t work in American for a very long time because of this.

You imply in your last sentence that the board is dysfunctional. I would like to hear an explanation of that allegation other than you not getting the paycheck amount you desire. I’m sure we would also love to hear how you would react if the tables were turned, if a board member told an orchestra musician that they were incompetent. You’re an expert fundraiser? Who is exactly? You get paid because some people out there think what you do is important. No one is taking advantage of you, no one is earning a profit. A board is all-volunteer, and your salaries are paid because they beg people to give you their money with absolutely no return on their investment.

All this finger-pointing is what is running your orchestra to the ground, not any one person or group of people. Orchestral musicians are LUCKY to have the jobs they have, and sometimes that luck just runs out. When you place your livelihood in the hands of the good-will of people, then shame on you for placing expectations on anyone to provide anything for you. Playing an instrument entitles you to nothing, no matter how good at it you might be.

And here is Cameron Kopf’s response:

Steve S., who are you? What are your qualifications to make such negative judgements about musicians and their profession?

It is easy to cast such aspersions when you do not include your full name.

You write: “The music director does need to be a face, and does need to understand the way an American symphony orchestra works.”

Please enlighten us how an American symphony orchestra works.

As a professional horn player for thirty-two years, who has held contracts with the Nashville Symphony, Sacramento Symphony, San Jose Symphony and have performed with many other musical ensembles, I have seen various living situations of conductors. Some are full-time residents, others maintain part-time residences, while others fly in from their home cities to attend to the business at hand in their orchestra.

This is an increasingly global society. It is no longer necessary for a conductor to maintain a residence in the same city as the orchestra is located. This is understood by many top-tier orchestra managements; they do not require the conductors to live in town.

Please refer to the following blog, by a noted conductor in Canada, for more on this topic: Pull up the roots…

You write: “Hirokami’s incredibly negative comments about his employer showed that lack of understanding. In the end, there is no way to know who’s really not doing their “job,” but what Hirokami did was just plain stupid.”

Perhaps the conductor did not exercise his best judgment by making such statements, but the fact still stands: the Columbus Symphony is in serious trouble and what can be done to save it?

As a long-time member of both Orchestra and Negotiating committees in the now-defunct Sacramento Symphony, and witness to other California orchestras which have gone under, placing the blame on the musicians is a common, misguided tactic. It serves no constructive purpose and is in fact destructive; it distracts attention away from the most critical issues, which are the orchestra management and Board’s responsibility.

You write: “You imply in your last sentence that the board is dysfunctional. I would like to hear an explanation of that allegation other than you not getting the paycheck amount you desire.”

Perhaps you have not done your homework or researched this situation on your own. Have you spoken with any musicians about it? Have you read their press releases? I am not referring to the Columbus Dispatch’s curiously negative bias on the situation.

You write: “You’re an expert fundraiser? Who is exactly? You get paid because some people out there think what you do is important. No one is taking advantage of you, no one is earning a profit. A board is all-volunteer, and your salaries are paid because they beg people to give you their money with absolutely no return on their investment.”

Symphony orchestras provide what is known as the “arts multiplier factor” which generates revenue for businesses related to the entertainment industry, such as restaurants, parking garages, stores, among others. To lose the Columbus Symphony would curtail spending downtown.

It is not the job of musicians to fund-raise. We are trained professionals who have spent countless hours (and dollars) at our craft. OUR job is to provide the best musical product possible on the concert stage. This is a full-time occupation, requiring many hours of practice to maintain the highest artistic standards. Ultimately it is the management and board’s responsibility to ensure that the organization is healthy, and represents the community in which the orchestra performs.

Musicians are glad to help in any way they can, EXCEPT for cutting their own throats. They should not have to do this in order to save the organization; it is not the musicians’ responsibility.

Musicians do indeed understand and appreciate that the Board consists of volunteers, and we sincerely seek CONSTRUCTIVE solutions to problems. This does not excuse the board members from less-than successful methods of maintaining and building an orchestra. When problems arise, it is vitally important to address them in a way that does not diminish the music product that they are “selling”. Clearly, the current offer to the musicians would result in a serious degradation of the artistic standard of the Columbus Symphony, and less people would be willing to support it.

It is important to approach the situation with constructive, positive solutions rather than laying the blame on the musicians for not accepting drastic cuts — which would be a DEstructive solution indeed.

The fact is, cutting musicians and their salaries does not create a healthier organization. Quite the opposite. It would be the beginning of a downward spiral ultimately resulting in the organization’s demise.

Your final statement is furthest off the mark: “Orchestral musicians are LUCKY to have the jobs they have, and sometimes that luck just runs out. When you place your livelihood in the hands of the good-will of people, then shame on you for placing expectations on anyone to provide anything for you. Playing an instrument entitles you to nothing, no matter how good at it you might be.”

It is a shame that many people do not understand what it takes to be a musician. Yes, we are lucky to have jobs. You are lucky to have the job YOU have. Those of us who are employed are lucky in general, aren’t we?

You say, “sometimes that luck just runs out”. Would you say that to a doctor or lawyer? Musicians spend just as much time on their profession as those people. Providing art to a community is every bit as valuable as providing medical care or legal counsel.

Your most telling statement “Playing an instrument entitles you to nothing, no matter how good at it you might be”.

This attitude says it all. I sincerely hope that you are NOT on the Columbus Symphony’s board. If you are, you are seriously misguided, and have no business being on it.

The musicians of the Columbus Symphony have been MORE than willing to try to reach a constructive solution with the management and board. The latter has not been willing to do the same. So perhaps they are not truly interested in maintaining the organization or fostering its growth.

It would be a shame to lose the Columbus Symphony because of this lack of cooperation and vision. Judging from the recent accolades by the audience of the recent outdoor concert given by the Columbus Symphony musicians, they would be greatly disappointed indeed.

Sincerely,
Cameron Kopf
professional horn player throughout Northern California

David Lundberg’s Wisdom, Urging Passion

Published
by
dtclarinet
on July 16, 2008
in Behind the Scenes, Clarinet, Columbus Cultural Politics, Mastery, Off the Record, Our Supporters, Personal, The Music, columbus symphony orchestra, symphony board and symphony management
. 1 Comment

David Lundberg was educated as a musician at the American Conservatory of Music in Chicago. In business in Dallas, he founded the Charter Group, a property and casualty insurance conglomerate whose customer friendly and principle-rather-than-policy driven practices were significant in changing the face of the industry for the better.

Mr. Lundberg’s deep love for people and his passion for music punctuated another long career, volunteering in the support functions of music – as board member with the Dallas Symphony and Dallas Opera, as board chair for Lyric Opera of Dallas, Arkansas Opera Theater, Hot Springs Music Festival, and others too many to list. He has seen orchestras and other arts organizations dip near death, then rise to world renown. In his recent move to Columbus, David has brought a wealth of experience, perspective, and wisdom to share, as you will read in this letter.

Dear Fellow Community Members,

It was my privilege as a student at the American Conservatory of Music in Chicago in the 50’s to watch Fritz Reiner bring discipline and inspiration to an orchestra that had become complacent and lethargic. At that same time Chicago had an arts critic who was convinced that nothing excellent could possibly happen outside of New York, Boston, or Philadelphia and her reviews of the Chicago Symphony (CSO) reflected this belief.

During that period, the CSO also had an extended tour of Europe. The reviews came flooding back to the States and the reviewers were ecstatic. Chicago was filled with pride and excitement for their orchestra. That pride continues to this day as the CSO remains in the Top Five in the Country, with many in the know feeling that the CSO ranks Number One.

In Dallas, as a singer in the Dallas Symphony (DSO) Chorus for 25 years and as a member of the DSO Board for several terms, I saw a very similar phenomenon happen. The DSO emerged from bankruptcy in 1974, at full strength, thanks to some farsighted people including Stanley Marcus (Neiman Marcus). During the 70’ s, the DSO had a series of short-term and guest conductors, who allowed the Orchestra to become uninspired and sloppy. Enter Maestro Eduardo Mata, a masterful technician like Reiner, who awakened the musicians’ desire to perform at a higher level. Same script - sour critic, European tour, great reviews, and wonderful community response. The whole situation in Dallas remains positive to this day – pride in and of the musicians, fiscal stability, great arts community, good endowment, a great new $130 Million venue and no debt.

In the ensuing years, many Fortune 500 companies relocated their headquarters to the Dallas area. Ones that quickly come to mind are American Airlines, JC Penney, Exxon Mobil, Kimberly Clark, Co—America Bank, Fluor, and Ericsson Telecommunications (North America). Is there a connection here? You bet there is. When major companies decide to relocate, they establish a profile of the qualities that they are seeking at the new location. Common to these profiles is the absolute requirement of a superb, vigorous cultural community (led most naturally by the symphony and opera). While this is not the only criterion, the importance of a vital classical art landscape is undeniable.

My wife Katherine and I moved to Columbus two years ago and, Eureka! what did we find but Junichi Hirokami and the Columbus Symphony, and a strong feeling of déjà vu from Dallas and Chicago. Hirokami, whom I had seen guest conduct several times in Dallas, has the same technical skills as Reiner and Mata. And the bonus is that he is highly respected and liked by the musicians. Junichi brings such infectious joy and love of the music to the podium that audiences and musicians alike are exhilarated and enchanted.

Sadly, we began to hear from some in the community that, “the CSO and the Opera don’t pull their own weight financially.” Most are unaware that American symphonies and operas earn considerably less than half of their budgets from ticket sales. The critical mass of support must come from farsighted and benevolent corporations, foundations and individuals who have a keen understanding of the tax benefits, the good will, and public relations benefits they derive from their generosity. Also, we hear questions such as, “Can Columbus support a major symphony orchestra?” Columbus - 15th largest city – state capital – home to the largest university – home to six Fortune 500 companies and fifteen Fortune 1,000 companies? The question is absurd on the face of it. If we fail to save the symphony, Columbus will be the largest city in America without one.

Traditionally, it has been the large corporations that the Symphony has turned to for regular, long-term support. Unfortunately, that is how a small group of corporate funders and board members have come to assume the power to speak for the entire community regarding the future of this rare community treasure. And amazingly, power that seems entirely disproportionate to their monetary contributions.

If given the support, Hirokami will bring fame to Columbus and challenge the Cleveland Orchestra as the best symphony in the state. This vision certainly does not appear to be shared by the Board and the current corporate funders. They are looking to the bare minimum level of funding rather than the challenging, exciting “quest for the best.” Will the community settle for mediocrity or will they step forward and fight for the very best.

Our symphony was on the cusp of a giant step forward in quality and professional respect, which would have brought incalculable rewards to Columbus, many in ways totally unrelated to the arts. Are we to let this treasure, which would take decades to rebuild, slip away because of several years of what appears to be gross mismanagement by the CSO Board and staff? (The musicians are not the problem; their wages — total artistic costs — have been at or below budget the last three years.)

In the bigger picture, if Columbus is to grow and keep pace with other major cities by attracting new business and industry, supporting the symphony right now is absolutely mandatory. This is purely a matter of civic and corporate will. Let’s just determine to do it! And generously, in ways that will ensure its long term excellence and survival.

An enormous outpouring of support is needed from community members and arts lovers from all walks of life. The emergency is real, and the consequences are enormous. Failure is not an option! I invite you to weigh in with your thoughts on this matter at www.symphonycolumbus.com.

David Lundberg