The Rise and Fall of a Great Orchestra

(My Two Cents . . .)

Dr. Romanstein, Ms. Hepner and Members of the Atlanta Symphony Orchestra and Woodruff Art Center Boards;

In November 2003, the ASO and Chorus were on stage in anticipation of rehearsing Benjamin Britten’s War Requiem with Donald Runnicles. The chorus was especially excited because we were preparing for a series of concerts in both Atlanta and Berlin. Just as the rehearsal began, Paul Murphy, associate principal violist, stood up to address the chorus. Paul expressed to us that he and the orchestra were so pleased we had been invited to Berlin and how proud they were of our accomplishment. He said that the orchestra was honored to share the stage with us – honored.

That moment exemplifies the bond between these two groups of musicians, one amateur and another professional – an ideal celebrated by our mentor, Robert Shaw. We often hear that the different factions of the ASO are family – that we are a group unified by our collective endeavor to create for Atlanta a classical music culture that enriches the community through concerts, outreach programs to schools, talent development and recordings.

But hold on: something is clearly broken; that unity of purpose is now in jeopardy. We are told that the ASO is in dire financial straits and has been operating in the red for 10 years. How can that be? Without being privy to the particulars, this sounds like the business model in place is woefully out of sync with the times and needs of the organization. I think I understand the basic problem – too much money being spent and not enough refilling the coffers. From all accounts, you believe that the answer to the financial crisis is to cut the musicians’ salaries, numbers and benefits, and play fewer concerts. In this family, the musicians are the producers; they perform. You are the managers; you are responsible for minding the finances, to properly administer and fund by working with philanthropists, corporations and individual contributors. However, you have broken your end of the agreement by allowing the dismal situation to develop and have damaged the family bond by asserting that the musicians are obligated to provide the remedy. You seem to be attempting to diminish the quality of a finely tuned professional organization by forcing the musicians to bear the brunt of your broken business model.

Imagine the response to the cuts you suggest. With a shortened season and fewer full time musicians, the orchestra will become a second tier organization. There will be a steady downward spiral of reduced audience expectation and attendance. Bright young players will opt to audition elsewhere and many current players will be lost to cities where there is a promise of growth. Venerated world-renowned soloists will decline to come to Atlanta to perform. Outreach programs for up and coming musicians in our schools will be weakened, lessening the impact that music clearly should play in their education. There will be fewer opportunities for spectacular musical events in our city and one less draw for people to come to Atlanta. All this is just egregious.

You must fix this problem.

Word on the street is that the WAC board is intent on crushing the musicians’ union – giving rise to the notion that management really does consider the orchestra members to be “just employees.”  That sounds exceedingly shortsighted and vindictive, if true. Now where is the family bond and common purpose? Why are cuts not spread across the organization? Why has the latest counter offer from the musicians not been debated more seriously? Why is there no good faith compromise? There must be a solution; otherwise, you are dooming our legacy.

Your mission is clear: you must fix this problem. Rework the numbers.

When 300 people gather to make music, we exist as one voice and breathe life into masterpieces that exist only in time – a performance is ephemeral and only continues for those that create and attend that performance. I have been a proud member of the alto section of the ASOC for many years – the 2012-13 season is to be my 30th. I have been fortunate to have extraordinary experiences with the incomparable Robert Shaw in innumerable rehearsals, concert performances and recording sessions, and with Maestros Levi, Spano and Runnicles, each building on the Shaw legacy. The members of the chorus are honored and privileged to make music with the musicians of the Atlanta Symphony Orchestra. The thought that this might end because of a failed business model breaks my heart. It should break yours, too.

Please do not allow this travesty to unfold. Figure out another way. As leaders of our magnificent orchestra, stand up with us, work with the musicians, and say that you, too, are honored to be on their stage. 

Cynthia Goeltz DeBold

Alto II, ASOC