Dear Choral Colleagues and Cohorts,

Some thoughts on the impasse for your consideration...

When the AJC first published a status report on the ASO negotiations several weeks ago, the comments for the most part exhibited appalling apathy and ignorance. People who are clueless about the arts but think they know something about unions, or think they have opinions of value on every issue, provided post after post demonstrating the inescapable truth most of us accepted long ago. Most people in our fair city truly aren’t interested in what is happening right now behind the closed doors of the negotiating room. Most people don’t care if the ASO continues, declines, or folds.

So we absolutely have to care.

Contractual negotiations are always accompanied by rhetoric from both sides, and the current process is no exception. I try to be as objective as I can, but of the ASO musicians I know, none are living in Buckhead mansions or driving Ferraris. If ASOPA offered up salary concessions, as has been reported, their members are definitely going to notice the lost income. However, in these times compensation packages everywhere are taking a hit. The question is, how much of a hit should they have to take?

These guys are really, really good at what they do. None of them is “average” in ability or experience, that’s why they have made it into the ASO. Employing and retaining musicians of this caliber in our community provides a ripple effect – it’s not just the ASO concerts at Symphony Hall and elsewhere, it’s the faculty members at Mercer, Kennesaw, GSU. The availability of top-notch musicians for church music that preserves “church music” as we know it. Teachers and coaches for private lessons throughout the metro area. The ASO Talent Development Program. Spin-off groups such as Sonic Generator and our wealth of traditional chamber ensembles. The list goes on and on. And the ASO will collectively only get better as long as top talent is attracted through a combination of suitable compensation, the highest artistic standards, challenging repertoire with a diversity of performing opportunities, and the perception that the arts community is thriving and expanding.

But there’s the cash-flow problem, which is real. It may be that the nickel-and-dime approach will solve that in the short term but it brings with it a narrower world-view and no guarantee of long-term recovery. I don’t see that approach putting the type of corporate vision in place that was exemplified by Robert Shaw and many others in the formative decades of the ASO and the WAC, a vision that could lift the ASO (finally) to the top tier of American orchestras and help it gain prominence internationally. We need to build an “Atlanta model” at an organizational level, as Spano has done artistically with the Atlanta School of Composers, and stop continually looking (with the accustomed sense of inferiority) at the New York model  – it doesn’t work here, not least of all because we don’t have the vast repository of “old” money. We need the support of the greater Atlanta business community, the City of Atlanta, and the State of Georgia. The people who are paid to successfully reach out to these constituencies don’t seem to be making it happen, for some time now – this has little to do with the overall economic situation. The money is still out there, it may be closely guarded, but it’s there. It certainly appears that the $1B+ required for a new ATL sports stadium will happen if the right levers are pulled…

Meanwhile, the St. Louis Symphony has toured this summer to the BBC Proms, Lucerne Festival, Berlin, and Paris. A venerable organization to be sure, but not currently the equal of the ASO. Another European tour for the ASO (and remember it's nearly a quarter of a century since the last one) will never happen without a fundamental organizational commitment to maintaining the artistic breadth and depth required for such an endeavor, as well as an understanding of the positive impact that type of visibility has to the financial and artistic strength of the organization. Recognition that there will be costs incurred, but the rewards will justify it, i.e. sometimes you have to spend money to make money.

Meanwhile, the gala opening night at Carnegie Hall this season will honor the Chicago Symphony Orchestra and CSO Chorus –both absolutely worthy of such distinction – but it raises the question of when, if ever, will that opportunity come to us? It won’t if the ASO regresses from its current artistic level. It won’t if this organization becomes perceived as only having “regional” significance.

Meanwhile, as the ASO season opener draws ever nearer, Midori is probably looking at contingency plans if the impasse isn’t resolved, but I’m sure she can come up with another gig if needed. The question is, will she come back the next time a gig in ATL is offered? The great artists are in demand everywhere. They come to ATL not just for the paycheck but for the level of music-making they are guaranteed when they step onto the stage at Symphony Hall. They won’t come if the elements aren’t in place to make them look good or to support the repertoire they want to perform. We need even more of these top-echelon artists on the schedule – although their fees are high, their concerts consistently sell well (there is something to be said for name recognition).

Meanwhile, the ASOC continues rehearsing, and we will be ready for whatever happens. The effort invested in learning is never a waste – it all contributes to the growth of the ensemble, and be assured, we need to keep growing and improving, if we, like our orchestra, desire continued recognition at the international level.

I encourage you to attend any special concerts that are offered over the next several weeks, as well as regular season concerts (I remain optimistic) once the season gets underway. It is always important to foster good relations between the chorus and orchestra, and one way we can do this is attend concerts even if we're not involved - we do receive discounts for single tickets as well as subscriptions, and there are rush tickets as well - take advantage of every opportunity you can to hear this wonderful orchestra!

But in searching for some other way to support the ASO, both in solidarity with the musicians as well as the administration’s cost-reduction goals, I would suggest that if our own Carnegie Hall trip still happens (and I don’t think that this will be forfeited no matter what contractual hoops both sides have to jump through), that all chorus members who are able should offer to pay part of their traveling expenses. We have done this before on occasion, but it has never been more important than now. If we each pay, for example, $100-$125, that would be nearly $20K. A drop in the bucket overall, but it really is the gesture that counts in this case. I know this would not be possible for everyone, but for most of us, especially if we know in advance, it’s feasible.

Thanks for reading, for caring so much about both the ASO and ASOC, and special thanks to Sally and Cyn for providing this blog.