Sunday, October 7, 2012

We have a season

Chorus Colleagues:

It is certainly nice to know we have a season and the "late unpleasantness" is behind us, at least for a couple of years. I hope feelings will mend and that some longer lasting solution will be found.  As you may know, this has not been a good period for symphony orchestras in America. 

The Orchestra is to be commended for "stepping up to the plate".  The sad thing is that they could have had much the same settlement as they finally accepted. However, I can understand their feelings on the matter.  No question that Orchestra members took a big hit with respect to salary.  They did what they had to do regardless of the pain.  Some will have to rearrange their lives.  That is most unfortunate.  But the alternative would have been worse. 

Seems to me that management could have done a few things better. In retrospect I think Stanley's approach to us might have been  more business-like.  It appears to me that having once sung in a chorus or haviing attended a Shaw clinic or some such, he is "one of us".  He told me that once.  I think not. I'd rather have a "boss" who treats you like a professional.  We are "professional" in our approach.  We just don't get paid.  That's something Mr. Shaw believed is the right way.  I think he was (and is) right. And, perhaps, top management might have offered concessions going in.  But that is then and this is now.

Some have feared that the settlement might compromise artistic quality. If one is talking about numbers, I doubt it.  According to my research, when we recorded the Walton and the Bernstein in 1989, the Orchestra had 91 members, three more than presently.  As for the players themselves, I suspect self-respect and high standards will overcome hard feelings.  These folks are pros.  Will the Orchestra be able to attract top talent?  My guess is, "Yes".  There are many fine musicians out there, probably more instrumentalists available than vacancies. 

The big problem is, as it usually is, money.  We've read that the organization will start fund-raising in earnest in the aftermath of the settlement. 

We give of our time and effort because we love music, our organizaton  and each other.  Many would say that's enough.  At least for the short-term, I'd like to challenge fellow choristers to do a little bit more.  I'm pledging to increase our annual donation to the ASO.  Will everyone join me and contributing at least $100 or more this calendar year?  That's really not too much when you work it out in terms of things we buy on a frequent basis.  The total will not be huge, but every bit counts. 

I know not everyone in The Chorus reads this blog. Maybe someone can figure out how to get the word out to fellow choristers.

As a post script:  One of our colleagues had a criticism of my last post in which I suggested that management should consider putting everything on the table when it comes to cost-cutting, including education.  I agree that his criticism has merit.  If for no other reason, an organization like The Orchestra must be involved in the community.  Perhaps my suggestion was somewhat short-sighted.

Ed (Old #172)

6 comments:

  1. Many folks are conflicted about donating. First, there is the uncertainty of where the money is actually going, since it is all funneled through the WAC. Then, there is the aspect that, if one donates, does it tacitly validate how this negotiation process was handled and resolved? And not least of all, is a donation really going to do any good even if it does go to the ASO coffers? Is the fiscal management of the organization going to shape up and make the most of donated funds, or will they simply be "good money after bad"? Lots of questions.

    Nevertheless, I made a small donation toward our Carnegie trip. And after a lot of internal debate, I renewed my ticket subscription, but only 12 concerts this year, down from the normal full 24-concert season. My answer to all the above questions is - whatever the situation with WAC/ASO Management - the end result of not donating, or not buying tickets, or not attending concerts will be to further hurt the musicians. Just have to put the message in the bottle and hope it washes up on a favorable shore.

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  2. My guess is that The Stanley told us the choral bit in order to build a bridge between our constituencies. I'm not sure that bridge is safe to walk on. (I have this recurring nightmare where Norman is unable to conduct and Stanley offers to step in! Somebody save me!) I think your call for stepping up an annual donation is a fair one ... with our subscriptions and donations to education programs, we are pledging our faith that the organization will continue. To do less is to starve the programs we want to stay healthy.

    According to ASO Management's self-congratulatory press releases, ticket sales are up. And -- also according to ASO Management pre-lock out releases -- all these donors and patrons are lined up, ready to put gobs of money in play once the symphony's financial house is in order. (I'm watching that one like a hawk.) But I was also told that someone offered to buy the symphony's debt ... an offer that was not accepted by WAC. Which says that this isn't a financial issue so much as one of control ...

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  3. Oh Sally! that is truly disturbing! Anyway, to really find out if the control issues is true- that would certainly be something wouldn't it? Would sort of switch the control in a heartbeat. I totally understand the conflict in donating. I think buying tickets and such is good as it helps them and you get something lovely in return. For myself, I'm switching to donating directly to the musicians on their web page and from the benefit concert as it is the only way I feel I can control where the donation goes. Also seems like next time the contract comes up they need to be more prepared with a strike fund and a way to pay insurance.From the next articles, sounds like other cities think this also was a grave injustice to the musicians so more fight for the future. But I agree something is fishy....
    Sorry about your nightmare Sally- I think I'd never go to sleep again!
    Very interesting.......

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  4. Ed; you are right, of course - orchestras all over the country are battling allegedly diminished contributions and endowments. Since we don't have any hard info from the WAC and ASO, though, we cannot know if the problem in Atlanta is really lack of contributions or just sub-par financial management. While there is safety in numbers with the umbrella arrangement, I'd be interested to know how WAC determines how to distribute funds to the ASO, Alliance, High and Young Audiences. If I give to the ASO, my understanding is that the money goes to WAC for distribution. If so, when the ASO fundraising collects $1M, does the $1M stay with the ASO, or does WAC redistrubute? How can we learn more about the inner workings of the purse string holders? Unfortunately, my paltry contribution won't pull us out of the mess.

    As far as the ASOC is concerned, the lip service we get is insulting. I believe that the ASO knows a good thing when it sees it - hey, we're free labor filling seats. I have never promoted the idea of changing RS's vision of an amateur chorus, but it would be gratifying if the organization valued our input - and I am not referring to speaking AT US a few minutes before a rehearsal. We are players and they bank on us. As it stands, it seems the best we can do is free parking (which I appreciate, btw).

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  5. I have been told that a few years back the WAC wasn't able to meet its funding costs so they just pushed their debt onto the three divisions with the symphony taking the largest share being a more costly operation... This person I won't name but no longer works there but apparently holds no grudge in fact very clearly defended the ASO and WAC which also was very odd! Thought I'd pass it along here for whatever it is worth. Wish there was still real investigating reporters in existence.

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