Tag Archive for 'columbus symphony orchestra'

Valerie Gibbs letter to WACSO

Published
by
dtclarinet
on July 7, 2008
in Behind the Scenes, Our Supporters and columbus symphony orchestra
. 2 Comments

I met Valerie and John Gibbs at my home recital in May. They have shown a great deal of passion and determination to help the musicians of the Columbus Symphony continue to make music. And they have sought to keep an even keel in public perception of the ongoing saga of the Symphony, its history and outcome. To that end, Valerie and others composed this wonderful letter to the members of the Women’s Association of the Columbus Symphony Orchestra (WACSO).

Dear fellow WACSO member, July 4. 2008

We all know that we are at a critical moment in the life of the Columbus Symphony Orchestra that we love so much.

We have very few constructive options that could lead to the continuing life of the symphony—and very little time.

While we are not, nor can we be, part of the negotiations, we can do three things—get accurate information about the past and present situation; write to civic leaders like Mayor Coleman, Governor Strickland, President Gee of The Ohio State University; and publicize, attend and support upcoming musicians’ concerts—and urge our friends to do these three things.

The time to act on behalf of keeping our symphony alive is now. We have our four Youth orchestras and all the students and schools they represent hanging in the balance as well.

We may not all be aware that as of the beginning of June the musicians pay has been ended; moreover, their insurance, including their health benefits, have been cut off as of July first. One way we can support them right now is to go to a website that features upcoming concerts. By our attendance, and donations, we can give them our direct support. Their new website is The Musicians of the Columbus Symphony.

If our symphony orchestra is silenced, look at what our capital city is about to lose:

    -The cultural, educational and musical life-blood of our city that brings an unparalled joy into our lives, and into the lives of future generations.

    -An attraction to keep and to draw high-quality businesses in and to our area.

    -Some of the finest orchestra musicians anywhere—some of whom have already left their local students as well as this ensemble behind in search of more secure employment—who have spent years together building up our symphony to its emerging world class status.

    -The reason to stay involved in Columbus for Junichi Hirokami, an outstanding young conductor, musician and advocate for the highest and best of music.

We have faced crises like these before. In 1969 we women were behind the successful effort to save the Ohio Theatre when it was on the very brink of destruction, when the chandeliers and other Ohio Theatre cultural treasures had all been sold. During that crisis we helped raise the money to renovate the Ohio Theatre so our symphony could have a home.

For almost 60 years we have stood whole-heartedly behind the orchestra musicians of Columbus, supporting our Symphony’s mission “to develop and foster the art of orchestral music at the highest possible artistic level,” attending concerts, purchasing series’ tickets, and throwing our full weight into fundraising and other vital community work for the Symphony.

As we celebrate the courage and sacrificial efforts of those few but faithful 56 signers of our Declaration of Independence this July 4, those who paved the way for our lives here today, let us commit ourselves anew to what we believe in, for generations to come: Live Symphonic Music for Columbus.

Sincerely,

Valerie Gibbs, (Lyric), Encore/Caprice Lifetime member

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
. 0 Comments

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

Surfboards ready?

Published
by
dtclarinet
on May 16, 2008
in Off the Record, Our Supporters, Performances and The Music
. 4 Comments

(Addendum: the music critic who reviewed last night’s concert, Barbara Zuck, didn’t stay to hear our incredible performance of Bolero, in what may end up being the Columbus Symphony’s LAST classical concert. Players, whom she’s heard for 30 years give their lives to the music, may now be forced to fall silent. She barely mentioned the orchestra in what she did write. Deadline or not, I find the gesture irresponsible and uncaring. Yet, if Zuck is behaving against her best interests in supporting fellow artists in the orchestra, it begs the question, who is pulling her strings?)

You know how a Tsunami starts with a huge VOID? The water drops away from the shore before the wave rises. Well, the water has been pulling away from the shore of the Symphony for awhile, but now it’s rising into a huge wave of support for the orchestra.

Tonight’s concert, with the amazing Yo Yo Ma leading us to ever higher levels of music making, and our beloved Junichi picking up where Ma left off, was a surge even higher than last week, which was already substantial music making (and appreciation of it) from us all.

The crowd tonight filled the house to the brim, and even Buzz Trafford, board president, felt he deserved to bask in it a bit, announcing that if we were playing in Severance Hall (Cleveland’s concert hall, smaller than the Ohio Theater), 500 people would be without seats. Keep basking Buzz, but don’t forget to zip up your wet suit. The water may be a bit colder than you like it.

The delightful Rosamunde Overture by Schubert allowed us all to settle in and enjoy the anticipation of excitement ahead. Schubert’s airy melodies floated from the orchestra like feathers in a tropical breeze. The world of music knows no budget limits or recession. And the orchestra played like a million bucks. If only we knew how to translate that wealth into greenbacks.

I didn’t have a part to play in the Haydn cello concerto, so I heard it from back stage. Ma may earn a chunk of change for one performance, but he puts out the goods. I doubt Haydn could have ever imagined his perfect concerto played MORE than perfectly. Not only was the performance flawless, at least from back stage, but it had drama, delight, intimacy, excitement and joy among its colorful moods. I watched some of the rehearsal with Ma and found myself rapt not only with his playing, but the effortlessness of his body language as he played.

Needless to say, the crowd went wild. For Haydn? As I think about this a drone plays in my ear, like some kind of repetitive torture, telling me classical music is outdated, a dying art, insupportable by the market. The market seems to be changing its tune, and those who really should be listening are tone deaf.

After intermission, Ma played the Saint-Saëns cello concerto, one of my favorite pieces by a favorite composer. Perhaps it’s because I had a crush on someone who played it for me in High School. The main melody of the first movement exudes the wavy passion of a slightly tipsy man deeply in love. He loves everyone! Ma laid it out, easy to follow, especially for a tipsy theme. Junichi was right there with him. We all enjoyed the ride. The second and third movements alternate between moods of domestic childhood bliss and a wistful theme which conjures the sweet pathos of life in a way only Saint-Saëns can.

As we rollicked to the very end, we let lose (according to plan) in a way Junichi rarely lets us do. We are just beginning to understand the control with which we are capable of “letting lose”. After nearly two years of working with him, we are just beginning to tap into our potential for controlled passion and power, the energy tapped by the greatest orchestras, from Cleveland to Berlin.

For an encore, Ma joined members of Carpé Diem string quartet, sans orchestra, to play the slow and dramatically rich second movement of Schubert’s Cello Quintet. The quartet was buoyed by Ma’s powerful presence and outdid themselves. Though the piece was a bit long for an encore, the hall was stark silent with focus during the quietest moments of the music.

It was time for the final work of the night, Ravel’s Bolero. Ma pulled up a chair and sat in the back of the cellos. He wanted to join us, and we were honored. He had briefly lauded, in no uncertain terms, our quality as an orchestra and the greatness of our city of Columbus. Junichi also offered some words to our audience. His charm and appeal grow each time he speaks. Without a microphone it was hard to hear him, but the gist was clear; he loves us, he loves the city, and believes deeply in both.

I, along with my woodwind colleagues, was a bit nervous, having to play the ultra soft beginnings of Bolero “cold” after sitting there silent for more than ten minutes. Phil Shipley, who was placed right in front of Junichi, began playing the famous bolero rhythm: tum-tupata tum-tupata tup-tup, tum-tupata tum-tupata tupata-tupata tum.

Randy Hester, principal flute, began the famous theme, which Junichi had coached us to play sensuously, without inhibition. The tempo Junichi chose seemed slow to us at first, perhaps because it’s more difficult to perform the solos effectively and control them at that tempo. Randy held perfect rhythm and added just enough enticement to invite the next soloist, myself.

I had worked on this for a few hours last night, playing it with the metronome over and over to get the control and stability I wanted, from which I could then evoke just a touch of playful flirting. Not too much, however, because I knew there was a long way to go. I was happy with how it went, passing the theme on to my friend Betsy Sturdevant, bassoon.

The bassoon states the second of the two themes the whole piece is built on. It is far more provocative and alluring. Betsy added just the right amount of heat to boost it up a notch and pass it on to Robert (Woody) Jones, my section colleague, playing the highly temperamental Eb clarinet. He repeated the theme presented by Betsy, and notched it up a bit, adding his own style and just the right amount of freedom to the undulating line.

Next up was the Oboe D’amoré, another unusual instrument between an oboe and an English Horn, played by Steve Secan. His melody went back to the first one which Randy and I had played. He laid it down superbly, rhythmic and clean, with just a hint of sensuality, just like his teacher and mentor John Mack would have done.

Junichi knew exactly how to help each person play their best. He coaxed those who needed it, and left others alone, sensing which would work best. The melody, though repeated endlessly, built in volume and color with each statement.

Ravel’s purpose in writing the piece was to experiment with unique tonal color combinations, like Monet did in his paintings, where three painting of the same scene were rendered in completely different colors and moods.

As the piece built, the tempo remained a powerful reality, the clock ticking as we all played our souls out to lure the audience into joining us in our passion. Phil Shipley and Bill Lutz held the hypnotic rhythm in perfect balance between stability and tension, wanting to move but restricted by time. Here lies the key to this piece; picking the right tempo. Junichi had set it perfectly from the first note.

The various solos, all played gloriously, built on each other as bodies heat up each other and feed off that heat to heat up more. The passion rose and rose.

The tempo never budged. The drums were pounding now, with the timpani joining in on three, one…. three, one…. three, one…. three, one. The orchestra played as one large organism. I lost myself completely and just basked in the rich aura of sound.

At the orgasmic end, our audience JUMPED to their feet.

It doesn’t get any better than that!

Are you ready to ride the wave with us?

Tony Beadle lacks passion for CSO

Published
by
dtclarinet
on May 15, 2008
in Behind the Scenes and Our Supporters
. 3 Comments

Today’s Dispatch article, Public efforts springing up to aid symphony, gave me a little boost this morning when I saw it. Until I read the last paragraph, that is.

The reporters highlighted the numerous efforts around Columbus to raise money, awareness and especially passion for the orchestra. Every bit counts when an arts organization reaches out for support. It’s about much more than dollars. Passion and optimism are money in the bank. People look to the arts to help them rise above the fray. It pays well over the long run to validate those passionate emotions.

Among the efforts described were those of the Columbus Symphony Orchestra League (CSOL), the students of OSU, and a new online group called Symphony Strong, which organized a very successful event at the Worthington Hills Country Club. Our music director, Junichi, also works tirelessly to help save us, a rare and unusual gift from his position, which usually remains aloof of internal problems of their orchestras. (I wonder what his manager is thinking?) Unfortunately, lacking mention was the Women’s Association of the Columbus Symphony, which has an important history of supporting the CSO.

They also featured some background on the two recitals I gave at my home. One phrase summed up the optimistic tone of the article, “But the music trumped the money.”

Every word counts. Even Tony Beadle’s words.

His final words were, “At the end of the day, people have to understand that we’ve got a huge dinosaur here that has to be fed 500 bales of hay a day.”

Dinosaur?! Ah, Mr. Beadle. The musicians and supporters thank you for such passionate and optimistic leadership in the midst of our crisis.

It should be known that, despite being two years into his tenure, Mr. Beadle has yet to move to Columbus in any permanent fashion. It seems Columbus is only a temporary stop off for him before moving on. I wish him well where ever he goes.

More from Bob Nichols

Published
by
dtclarinet
on May 15, 2008
in Our Supporters
. 0 Comments

Here is Glenn Sheller’s (Dispatch editorials page editor) letter to which Bob Nichols responds below. Mr. Nichols’ gentle admonishments seem to have little effect on the outcome of the Dispatch’s stance.

Dear Mr. Nichols:
Much of the opposition to the board’s plan focuses on what the board SHOULD have done before to prevent the symphony’s finances from reaching such a parlous state. But even if it’s true that the board previously failed to act effectively, nobody can travel back in time and fix things. So the question is, what would critics have the board do NOW? How do critics propose that the symphony balance its budget?

Dear Mr. Sheller,

Thank you for your response to my May 10 email. Excellent point - the problem today IS today’s problem to be solved, not yesterday’s! So let’s do PUSH for a resolution now, and NOT surrender to an “I give up – you win (or you lose, depending on where you stand) conclusion. The motivation to protect the integrity of an in-place asset, an unchallenged artistically successful institution (the CSO) SHOULD, should it not (?), provide plenty of motivation to look for solutions to protect, not destroy this orchestra. I am sure it is much cheaper, easier, and considerably more efficient to keep an orchestra, than it is to create one. This scenario assumes the board leadership is not already satisfied, even pleased, they are about to, or perhaps have, already achieved their goal – to disband the present orchestra.

Unfortunately, their actions and published comments to date have done NOTHING to dispel this very dark and I sincerely believe inaccurate, although too easily obvious, a conclusion.

“How do they balance the budget?” is asked. Perhaps it IS a smaller orchestra in terms of full time musicians, perhaps it IS a shorter season. However, it certainly is NOT resorting to abusive or inadequate compensation practices (i.e.. 40 %, or whatever it was, pay cuts). It is NOT canceling reportedly successful concert venues (i.e. Picnic With the Pops). It is NOT denigrating the input of the musicians by insincere “bargaining” sessions. (i.e. apparently ignoring a $500,000 payroll reduction reportedly offered by musicians). It is NOT conducting lack-luster fund raising campaigns that do not reach a sufficiently broad audience and do (did) not instill ANY sense of urgency.

I am not informed enough to place priorities on, or to determine the relative value of, each the above items – but I do think there is a potential balanced budget there, somewhere - maybe even w/o any personnel reductions(?), do you suppose?.

Now to matters other than “balancing budgets.”

WOSU has understood the importance of broad campaigns, directed to individuals and their sense of responsibility to maintain a service that used to be, and still is would you believe free for the listening! They have done this through repetitiously reinforcing the intrinsic value of their service plus developing a public sense of urgency, ownership, and responsibility. They (WOSU) followed a very unpopular programming change with another successful campaign – actually amazing! Is there not a lesson available here to our symphony?

No one, except perhaps the politicians (?), I think, has ever “won” the battle for popular support by attacking the credibility of those individuals on the other side. Affirming relationships are much more constructive! There has certainly been too much of that unfortunate technique used here between the symphony leadership and the musicians. The January board “Strategic Plan” began this episode by producing a unilaterally created document arguably not very kind to the musicians on several levels. The musicians responded quickly and understandably questioning the integrity of the board and leadership. This sort of dialogue has continued unabated, and recently has even spread to the Maestro! This practice is very sad and totally unproductive leading to divisiveness that can last beyond the time limits of the “negotiations.” Very, very sad indeed!

In conclusion, this “critic,” would very much like to see the symphony board/leadership along with the musician’s leadership quickly seek the counsel of a third party mediator/consultant to enable developing an acceptable and creative resolution for everyone out of this obvious impasse. (I admittedly have no credentials to be labeled a “critic,” I am only reacting to what I perceive as less than positive and not very constructive publicly displayed attitudes that sometimes even seem to be driven by mysterious(?) agendas.)

I do not see ANY indication a solution is to come from any other source or technique.

Can we not ALL easily agree that the Columbus Symphony Orchestra is worth the effort!

Incidentally, I was “amused” with the editorial comment Sunday morning that “…the loss (of the CSO) would not necessarily mean the loss of orchestral music in Columbus.” We simply are evaluating this issue on totally different levels. It occurs to me and I am quite sure you will not ever hear any of the personnel of the “other” orchestras in or around Columbus express anything other than dismay at losing or the compromising of the Columbus Symphony.

The Dispatch certainly has it within their influence to garner positive community support around the symphony, to stimulate the kind of attitude that would enable the negotiation of a responsible “labor” contract, and to give confidence to a no doubt “uneasy” board, as well as to help generate a community climate for very successful 2008-2009 fund campaigns.

Wouldn’t you like to do that? A decision to not go this route will most certainly also contribute to the destruction of the CSO as a viable institution for many years.

At the risk of redundancy, the goal should not be simply to save or keep “a” symphony orchestra - the goal is for Columbus to continue to have an orchestra worthy of the true critic’s ink.

Recent ticket sales and the positive community/audience response to the orchestra certainly are encouraging. Let’s build on that!

Once again, thank you for your response and taking the time to read this rather long email.

Bob Nichols

David Robinson Letter

Published
by
dtclarinet
on May 14, 2008
in Our Supporters
. 0 Comments

Many of you may have seen this letter, which appeared in the Other Paper last week and in the Dispatch a few days ago. It states the case for the arts as vital to both the economy and our city’s well being.

The Orchestra, the Arts, Our Community

The well-publicized and documented troubles facing the Columbus Symphony Orchestra (CSO) are part of an even bigger picture that I find troubling. The CSO is a key contributor to our quality of life in Columbus, well beyond the seasonal performance schedule. The education programs and outreach, and our accomplished Youth Orchestra, bring music and more to our children.

In terms of the business case for our Orchestra, many writers and economists emphasize the importance of the creative class as a central driver of the new economy. The CSO employs significant numbers of artists who live here, raise their families here, and spend their money here. Perhaps most importantly, for businesses small and large trying to attract and retain talent, the CSO represents an important part of our cultural fabric and our image as a great American city. Simply stated, no symphony, no great city.

The root of the symphony’s problems is our ailing economy. Working families in Central Ohio are being pinched at every turn for time and money. When one is forced to choose between food, fuel, and the finer arts, it is the latter which will suffer first. And without an audience, our performing arts organizations will need additional support from the same sources everyone else is tapping: individual donors and the business community.

So where are we investing in the creation of tomorrow’s jobs? Where is the support for innovation? Our region needs leadership and a long-term development strategy to help us take action and improve the things that matter. Yes, I need food to live, and fuel to travel, but I need the arts to make the journey worth taking.

_____________________________________________________

Robinson is the Democratic candidate for Ohio’s 12th U.S. Congressional District running against incumbent Pat Tiberi this fall. For more information on David Robinson and his policies, go to www.robinson2008.com.

Dispatch- Pravda of Columbus Rich

Published
by
dtclarinet
on May 11, 2008
in Off the Record
. 2 Comments

Today’s Dispatch editorial is nothing short of blatant propaganda. The motivation for such deceptive rhetoric may never be known. But the article betrays a caustic intent to destroy the Columbus Symphony and replace it with cheap, low quality players. I will attempt to interpret the hidden truth behind the propaganda.

Throughout the article, the use of the word “union” instead of “musicians elected representatives” attempts to con the public into believing our union controls us and inflicts their own twisted agenda. Nothing could be more false.

The Columbus Symphony Orchestra is at a crossroads that will determine whether it continues or folds. The outcome is in the hands of the musicians union.

The second sentence is an outright lie. The outcome is entirely in the hands of the board, which has refused to negotiate a fair contract with the musicians or with the help of a mediator.

If its members continue to ignore financial reality, the symphony will fold, probably as of June 1.

The board and management’s intentional sabotage of the institution for the past three years has resulted in the present crisis. They are to blame if the Symphony folds.

Over the years, musicians negotiated for wages and benefits that now far exceed the resources available to the symphony’s board of trustees. Operating deficits have been sizable for at least four years, growing to a record $2.3 million for the 2006-07 season. For next year, projections show the symphony with a $3 million shortfall in its $12.5 million budget.

The musicians have negotiated fair contracts which barely exceed inflation. We took pay cuts 3 years ago. Operating deficits are normal for arts organizations. Lack of effective planning caused increasing deficits.

The board understands that this can’t continue and has adopted a fiscally responsible plan to provide long-term viability.

The orchestra’s revenues come from ticket sales and the generosity of donors. The board has determined that the symphony can pay its bills only by living within a $9.5 million annual budget.

The boards failures can be satisfactorily assuaged by gutting the musician’s salaries.

To reduce spending by that much, it has made two proposals to the musicians. One would reduce the number of musicians and the length of the performance season. The other would retain all musicians, but at significantly lower salaries.

Two financially identical and equally unacceptable proposals in effect covered the minimum legal requirement to be able to claim to have “negotiated”.

The union has rejected both proposals and offered no meaningful alternative.

The MUSICIANS rejected two identically insulting and unlivable wage and/or job cuts and offered a half million dollar pay cut to begin talks.

The union disingenuously accuses the board of being derelict in its duty to seek out more donations, but the board is realistic in its estimates of what the symphony can expect from its benefactors. If anything, the refusal of musicians to recognize financial reality discourages donations because it undermines the confidence of current and prospective donors that the symphony is a sound investment.

The word disingenuously means “lacking in frankness, candor, or sincerity; falsely or hypocritically ingenuous; insincere”. Perhaps the editors need a good dictionary. The musicians have sincerely attempted to communicate, with frankness and candor, the dismal failure of the current board and management to effectively run the organization. But Pravda (read Dispatch) filtered out any truth of substance to avoid confusing the public.

The musicians should stop focusing on blame and start dealing with the facts. Business as it has been conducted in the past no longer is an option.

Read: The musicians should stop nagging the city about the truth of the situation and just play good doggy and beg for the bone. The board’s catastrophic failures are well protected by the Pravda (Dispatch) of the Politburo (the partnership of rich and powerful) of Columbus.

Though many lovers of symphonic music see cultural doom if the symphony folds, the loss would not necessarily mean the end of orchestral music in Columbus.

There is a passionate local audience for the art form, and the symphony board and civic leaders will look for other ways to satisfy the demand. The music need not die.

Condescension drips from those words. Fear not, Columbus, your fearless and tireless elite will not fail you. You are too stupid to know quality when you see it. We will give you what we deem is acceptable.

Whether this becomes necessary is up to the musicians. If they continue to dig in their heels, they will have no one but themselves to blame when the symphony is no more.

Yes, stupid Columbus, we tell you what the truth is and you eat it up.

Nasty, dirty union musicians just don’t get it!

Columbus Symphony Crisis: Some Truth-

Published
by
dtclarinet
on May 10, 2008
in Behind the Scenes and Musician's Life
. 6 Comments

OUR COMMITMENT
Last Sunday evening I gave a free recital in my home, the second such event in a month. The audience loved the concert, relishing the opportunity to see musicians perform up close and speak with them afterwards. Cultivating relationships with music lovers nurtures their personal investment in the Symphony and offers a valuable path for development of a strong and dedicated support base.

Along with other musicians, I wish to contribute to the long term development of our Orchestra. Among us we share skills in budgeting, investing, technology, organization, outreach, management, public opinion and education, to list just a few, all of which could contribute to the success of management’s output. Yet our efforts to contribute have been met with disdain from management.

Recent heroic attempts by newly formed grassroots organizations to stir support for the musicians have been treated with suspicion and even hostility by current management, revealing the counter productive behavior we have witnessed for years. Lack of cooperation among all parties is suicide in today’s competitive market. We are eager to contribute. We await inclusion by our board and management. Yet, instead we get more hostile ultimatums and threats. Is this productive behavior?

THE PROBLEM
In the past decade, the part of the budget for musician expenses increased about 4% a year, while operations expenses rose approximately 7% a year, significantly higher. Why are those expenses so high? In two of the past three years, the musician portion of the total budget was 39%, short of the national average of 40-50% for other orchestras. (In fact, that percentage should be lower, since the “in kind” donations of $1 million were excluded from the total budget.) Expenditures for musicians have been consistently lower than the national average, so why are they being asked to bear the vast majority of proposed cuts? Lack of effective answers to such questions has prevented a positive solution to our mutual problem.

Already six CSO musicians are embracing more secure employment opportunities. The effect of losing current CSO personnel is far-reaching. We teach the city’s children, in colleges, public schools and privately; we coach ensembles and orchestras, conduct the city’s amateur orchestras. We buy houses, pay taxes and spend our income here. The cultural drain caused by musician departures is taking place as we wait for effective solutions. Our board’s resistance to amicable communication underscores their tragic failure to champion the cultural gem of Columbus, its Symphony.

The behavior of current Symphony leadership is nothing short of sabotage. Canceling the popular and lucrative Summer season and failing to sell subscriptions for next season betray their intentions. This board’s failures began years ago. In order to stave off the current crisis, they should have implemented a comprehensive strategy at least two years ago, including, but not limited to, the following initiatives:

1. Capital Campaign from the Corporate Community
2. Capital Campaign of 30 top benefactors but seeking a major gift from one or two from the list.
3. Complete and submit numerous applications of grants to the various foundations in the United States with a particular emphasis on education of younger people who are taught by the Symphony members.
4. Develop a plan to seek State and Local support and fund it through a tax levy.
5. Develop a plan of action to involve all of the regional chamber of commerce’s to solicit community support from Columbus and the outlying cities.
6. Develop and execute on a long term strategic plan for the Symphony with a particular emphasis placed on the Executive Director, staff and Board Leadership working as a team.

Board chair Buzz Trafford’s statements claiming donor fatigue and the City’s inherent lack of support the real problem; Columbus is fatigued by repeated attempts to support an organization with a lackluster, calcified board and management which has failed to serve the City and the orchestra. Music Director Junichi Hirokami said in the May 10 NY Times article that he has tried to solicit funds from companies in his native Japan. “But they don’t trust our board,” he added. “That is why they hesitate to support our orchestra.” Who would want to give money to a poorly run organization?

THE SOLUTION
Economic data does not lie regarding the relatively high median income, population density and growth, corporate density and economic stability of the Columbus Metropolitan Area. (www.census.gov) Columbus can afford this orchestra. To regain the public trust, the current board and management need to step down so those more able can do what really needs to be done.

Great cities are built on thinking BIG. Why destroy the potential for greatness already within our City’s grasp? Junichi Hirokami said in the NY Times April 12th, “…In six years I can make this orchestra one of the best.”. We should be talking GROWTH: tours, recordings, a proud new concert hall for Columbus, not destruction. Fund raising will be easier with an exciting plan for growth. Our 2001 trip to Carnegie Hall demonstrated what is possible.

The musicians are the heart of the orchestra. Our part of the current budget is only $5.4 million out of $13.5 million (counting $1 million non-monetary “in kind” donations from various sources). It seems painfully obvious that our board of trustees, which claims to represent the higher aims of Columbus, should secure the current quality of music making by maintaining the musician’s part of the budget. Then, by utilizing the vast resources offered by volunteers, grassroots organizations and the musicians themselves, we can work together to build a truly great orchestra.

Letter to Columbus from Jon Kimura Parker

Published
by
dtclarinet
on May 9, 2008
in Behind the Scenes and Our Supporters
. 1 Comment

Jon Kimura ParkerIn the past two seasons, Jon Kimura Parker has performed as guest soloist with the New York Philharmonic, The Cleveland Orchestra, The Philadelphia Orchestra, the Baltimore Symphony, the Columbus Symphony, the Dallas Symphony, the Florida Orchestra, the Houston Symphony, the Minnesota Orchestra, and every major orchestra in Canada. This season Mr. Parker performs with major orchestras in Atlanta, Boston, Calgary, Cincinnati, Denver, Ottawa, Salt Lake City, San Diego, Tampa, Tokyo, Toronto, Rochester, and Warsaw. He also returns to the Hollywood Bowl with the Los Angeles Philharmonic next summer.

I made my debut with the Columbus Symphony Orchestra in the early 90s and was frankly astounded at the quality of the orchestra then.

I have been fortunate to see and hear its artistic growth over a
fifteen year period. I have collaborated with the CSO in repertoire ranging from Mozart to Tchaikovsky, and I have performed with many individual players in this extraordinary orchestra in chamber music festivals nationwide. I also recount, from many years ago, the great experience I had with the Rachmaninoff 3rd Piano Concerto, with Maestro Junichi Hirokami.

The quality, commitment, and artistic vision of this orchestra and its music director are recognized nationally and internationally. The CSO’s reputation has made Columbus a cultural jewel. The best players from around the country have moved to Columbus to make music for your citizens, to move you, to entertain you, and to enrich your lives. They are teaching music to your children.

It takes many years, even decades, for an orchestra to achieve this kind of prominence and renown. Unfairly perhaps, reversing this level of quality is painfully fast. Dire uncertainty or drastic curtailing of the scope of any orchestra quickly results in the best players moving on.

It is urgent to support this orchestra now and to demonstrate that the city of Columbus recognizes its value.

The artistic world is watching Columbus carefully and hoping to see this commitment to excellence continue.

It is overwhelmingly encouraging to note that the next few concerts have been saved, but it is now critical to support the CSO’s future.

Finally, I want to express my willingness to come to Columbus to perform without fee in any concert that will support the CSO and actively encourage others to do so. I can only imagine that many of my colleagues would do the same.

Respectfully,
Jon Kimura Parker
Concert Pianist

Letter to the Citizens and Leadership of Columbus

Published
by
dtclarinet
on April 26, 2008
in Behind the Scenes
. 10 Comments

“The mission of the Columbus Symphony is to develop and foster the art of orchestral music at the highest possible artistic level. Through its concerts, outreach, and educational activities, it is a community resource that is a major component of the quality of life in Central Ohio.” -From the Columbus Symphony Management Strategic Plan

“…The board, musicians and community must work together (because) Columbus deserves and needs this orchestra,” -Anne Melvin, Columbus Symphony Trustee, Columbus Dispatch, 1/18/08

“The foundation of the ARTS in Columbus is the Symphony. It’s the treasure that supports the Opera, the Ballet, and educational programs for children in the public schools.” -Joann Foucht, Women’s Association of the Columbus Symphony Orchestra, Columbus Dispatch, 1/28/08

“Last night’s brilliant performance by this maestro and this orchestra made believers out of everyone: The Hirokami Era has begun.” -Barbara Zuck, Columbus Dispatch

“…In six years I can make this orchestra one of the best.” -Junichi Hirokami, NY Times, 4/12/08

“…Business leaders and artists throughout the nation (are) watching Columbus. They… hope to see a demonstration of confidence in the future of this city.” -Bruce Ridge, Chair, International Conference of Symphony and Opera Musicians (ICSOM) Letter to Editor, Columbus Dispatch, 2/6/08

To the Citizens and Leadership of Columbus-

The world is watching Columbus as the Symphony Board of Trustees and Management request large cuts from an orchestra whose members are performing with world class quality. The orchestra took 11% pay cuts three years ago, now restored, to help shore up sagging financial support following a lengthy period without an Artistic or Executive Director. Better results were promised. Now management insists on 40% salary cuts to stabilize the organization.

A gem of cultural pride, loved by Columbus audiences, the Symphony as we know it would not survive these cuts.

The people of Greater Columbus Community know and appreciate the exemplary quality of the Symphony. A flood of supportive letters to the Dispatch has demonstrated this. Our fine Orchestra contributes to the vitality of downtown, both economically and culturally. Thousands of people attend regular concerts, enriched by the unique experience of live classical music. Thousands more benefit from the outreach and education fostered by the members of the Symphony.

In the past decade, total non-musician expenses have increased an average of 7% per year, while total musician expenses increased only 4% per year. In fact, the percentage for musician costs actually went down from 47% of the total budget in the ‘99-’00 season to 39% in ‘05-’06. Musician costs for the ‘06-’07 season were around 42%, at the low end of the national average of 40-50%. (*-source footnote)

The current total musician expenses amount to about $5.4 million out of a $12.4 million budget.* Why not maintain the heart of the orchestra, its musicians, and create a satisfactory budget built on that? Untapped gold mines of volunteers are eager to help. Grassroots organizations can generate untold support and revenue. Several burgeoning efforts are already proving their value. As a community let’s move into action and make it happen.

The Greater Columbus Community accomplishes great things with the right leadership. We all need to step forward and rescue this gem for our city.

“Across the country, exciting things are happening for symphony orchestras. …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.” - Bruce Ridge, Chair, ICSOM

I encourage you to be a part of the exciting things that are happening for symphony orchestras. Together we can make this happen.

Respectfully,
David H Thomas
Principal Clarinet
Columbus Symphony Orchestra

“I still want to believe there’s a solution out there.” Tony Beadle, Executive Director, Columbus Symphony Orchestra, Dispatch, 3/14/08

(* Sources- Total income and expense figures from audit reports provided by the CSO; Total musician expense figures from expense statements provided by the CSO)