Archive for the 'symphony management' 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.

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.

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

Today’s Dispatch Article

Published
by
dtclarinet
on July 15, 2008
in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management
. 6 Comments

Korine Fujiwara, a violinist with the orchestra, responded appropriately to the hypocritical attack on Junichi Hirokami by Tony Beadle in today’s Dispatch. While it is common for a Music Director to “jet set” from city to city to make a living, and thereby hardly ever residing in any particular city in which he directs, Tony Beadle’s has lived in an Extended Stay hotel since he began working for the Columbus Symphony, which is unheard of for an Executive Director.

It should also be known that Junichi Hirokami, during any visit to Columbus, made himself completely available for meetings with prospective donors. Yet Tony Beadle failed to schedule Maestro Hirokami to lobby for the orchestra.

Hello all,

Regarding the following quote from today’s Dispatch 7/15/2008: (emphasis mine) “Hirokami should have remained neutral, said Tony Beadle, executive director of the symphony — adding that Hirokami has also failed to perform key duties of a music director for a major orchestra, partly because he hasn’t put down roots in central Ohio. “A good deal of the work is not done on the podium,” Beadle said. “A music director is the face of the orchestra and ambassador of good will to the community and potential donors.”

I still haven’t had the opportunity to meet Mr. Beadle’s family. Have he and his family moved from Boston to Columbus yet? Where does he currently reside? In what state? Do they still live in the Boston area?

The fact that Hirokami doesn’t live in Columbus has been widely touted in the press, but if it is indeed true that after more than two years, Tony Beadle, THE EXECUTIVE DIRECTOR of the Columbus Symphony, HAS STILL NOT “PUT DOWN ROOTS IN CENTRAL OHIO” either, shouldn’t this also be newsworthy? Isn’t it also a HUGE problem for fundraising and the overall general health of an organization IF THE EXECUTIVE DIRECTOR DOESN’T HAVE A PERMANENT RESIDENCE IN CENTRAL OHIO?

We all have had the pleasure of meeting Junichi Hirokami’s family on many occasions, and it is my understanding that they even visited potential schools for their daughter on at least one occasion.

Korine Fujiwara

I would like to add that the board hired Junichi two years ago. Yet management has failed to effectively market him and utilize his time wisely when he visits Columbus. Who is to say he wouldn’t move here if given appropriate support from a functioning board.

Self Governing Orchestra?

Published
by
dtclarinet
on July 12, 2008
in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management
. 1 Comment

This letter was posted, apparently anonymously, on Symphony Strong.

Concerning the difficulties the CSO has had with the board- In England the London Symphony Orchestra, one of the great ones of the world, was started in the 20’s or so as an orchestra owned and managed by the musicians themselves. They have a manager, but this person is also a musician with the orchestra itself. (Last notable one was Clive Gillinson, a cellist with the LSO, now manager of Carnegie Hall). Couldn’t this be a model the CSO could at least try, as they have already demonstrated their ability to put together a credible budget plan? Much of the “dead wood” (my opinion only) upstairs in the management dept. would be eliminated, and the musicians would be able to control their own fate, although they might not have the income that they have now…Check it out, CSO, we need you

Who is the problem?

Published
by
dtclarinet
on June 21, 2008
in Behind the Scenes, Columbus Cultural Politics, Off the Record, columbus symphony orchestra, symphony board and symphony management
. 3 Comments

WHO IS THE PROBLEM?

Columbus is the fastest growing region in Ohio. It is also one of the richest.

Arts business produces over $330 million in economic activity in the Columbus area. That’s 11,000 jobs.

The musicians of the Columbus Symphony play at a world class level. Other orchestras at this level are paid much higher salaries.

Yet, Robert “Buzz” Trafford, president of the Columbus Symphony Board, and a lawyer with Porter Wright Morris & Arthur, thinks the musicians are overpaid and are causing the problem. He has hardly ever attended the Symphony. He also uses Google to figure out how to run a symphony orchestra. He’s not interested in the professional and experienced opinions of anyone, unless they agree with his.

Tony Beadle, Executive Director of the Columbus Symphony, and supposedly a leader of the arts, called the orchestra a “dinosaur”. He mocked a passionate grassroots support base which was formed to help with the current crisis. Since he came here, the Symphony has taken a nose dive. He is incapable of doing his job effectively.

Tony Beadle and management overspent their own budget by $6.5 million in the past 4 years. That’s over $1.6 million community dollars wasted each year. None of this went to pay the musicians.

The musician’s expenses in the budget went down by $0.9 million in the past 4 years. Yet, the musicians are willing to immediately take a 7% salary cut to save the orchestra.

Buzz Trafford said he would think about accepting a thrid party mediator 3 weeks ago. He still hasn’t accepted it. What’s he afraid of? He also insists that the musicians pay for half the mediator’s fee, something which is unheard of in any musician negotiation. Management pays the fee, because management stands to benefit from the advice of the mediator. The musicians continued to do their jobs of playing music at world class levels. Management needs professional advice to solve the problems they caused and they should pay for it.

Who do you think is the problem?

When a baseball team is losing, who gets fired, the players or the manager?

Letter from Jennifer Parker-Harley

Published
by
dtclarinet
on June 14, 2008
in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management
. 1 Comment

I am writing in response to the article about the Columbus Symphony Orchestra and the picture of me and my colleague, Mindy Ewing, that was printed on the front page of the Sunday (June 1) Metro section. It is important that members of the community know the backstory of the picture - not only was I moved to tears after what might have been the final concert of the Columbus Symphony, but because of the orchestra’s current situation, my family and I will be leaving town.

I came to Columbus in 2000 after winning an audition at which 99 other flutists from across the country were present. At that time, the CSO was considered a ‘destination’ orchestra - an excellent group of musicians with very little turnover in personnel (resulting in their musical cohesiveness), fair compensation, and based in a very livable city. It is as part of this orchestra that I learned the ropes -I played all the major repertoire, I played in Carnegie Hall, I played under world-class conductors, I was the soloist in the Mozart Flute Concerto in G with the orchestra in January, 2008. These were all formative, growing experiences for me and through them all I was supported by the warmth and cameraderie that characterize this group.

As a member of the community at large, I put down roots. I arrived here as a newlywed and went on to own a home and give birth to two children at St. Anne’s hospital. I began teaching at Otterbein College in 2003 and in my tenure there taught students that have gone on to teaching jobs in area public schools. I voted. I paid taxes. I built a life here.

This year, as the problems of the orchestra began to escalate, it became necessary to look elsewhere for employment. I am one of the six members of the orchestra who will be leaving Columbus, as I was recently appointed Assistant Professor of Flute at the University of South Carolina. My tears, as photographed after what may have been the CSO’s last concert, were for more than the caption indicated. Even though I was born and raised in SC, Columbus has become my home. I am saddened beyond words to leave such a great orchestra and so many fine colleagues.

Like me, members of the orchestra have come here from across the country and the world to make this city their home. Many of my colleagues have spent their entire careers here, contributing to the orchestra, but also to the community through teaching, raising children, voting, paying taxes, buying homes. If the board does not do what is necessary for musicians to survive, the city will continue to lose these highly educated, contributing citizens.

Most, if not all of us, began music lessons as very young children. We have devoted many years, much time and countless dollars to the pursuit of beauty and expression through music. Here, in this city, we have provided a world class model of orchestral playing that has had a ripple effect on the cultural life of the entire region. I urge the citizens of Columbus and the board to consider what the community will lose, as, like me, other musicians are forced to move away in order to pursue their life’s work.

Dr. Jennifer Parker-Harley
Second Flute, Columbus Symphony Orchestra/Assistant Professor of Music, University of South Carolina

Columbus Symphony Board, Guilty of Orchestracide

Published
by
dtclarinet
on June 12, 2008
in Behind the Scenes, Columbus Cultural Politics, columbus symphony orchestra, symphony board and symphony management
. 0 Comments

Here a paragraph from Abu Bratche’s post titled, What’s the opposite of accountability?, about the CSO board.

The single biggest weakness in the American non-profit sector is the complete absence of consequences for the people who really run non-profits. The board of the Columbus Symphony – no one else – is responsible for killing the enterprise which was entrusted to them. But they don’t lose their jobs, or have to find new careers, or get shunned at parties, or told by the local media that they’re selfish and unreasonable. They don’t even get thrown off the board. They just continue to be board members, except of course that now they don’t have to raise any money. And, unless their bylaws are written differently than those of most non-profits, they can continue to choke the life out of the institution long after it’s dead before anyone from outside can do anything about it.