A Movie From Vienna.....

Here is a compilation of movie clips from my trip to Vienna.  There is music everywhere in that great and beautiful city.  I hope that I can return.  http://youtu.be/QjZ3GMkP_6A

Another Pot Shot....

Here is a link to another article that brutally scolds ASO management: http://www.artsjournal.com/slippeddisc/2012/08/atlanta-symphony-apologises-to-the-schools-it-racially-excluded.html

Even worse are the reader comments that are impolitic and impolite.  Ad hominem attacks don't help the situation. 

Such vitriol....

I am not sure that such vitriol should be directed at Dr. Romanstein.  http://www.artsjournal.com/slippeddisc/2012/08/atlanta-symphony-apologises-to-the-schools-it-racially-excluded.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+disc%29

I shall leave it at that. 

More information of the current Atlanta Symphony Orchestra contract negotiations

Keeping up with the latest: http://www.artsjournal.com/slippeddisc/2012/08/last-minute-atlanta-symphony-fails-to-reach-agreement-with-musicians-lockout-looms.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+disc%29

My latest video.....

Check out my latest video titled "A Flying Drive to Pittsburgh and Philadelphia" with Terry Riley's "A Rainbow in Curved Air." Here is the link:  http://youtu.be/CLivWcoQvlo 

For my mother...

I created a video slide show to honor my mother's recent passing at age 94.  I am sharing it hear because it includes Arvo Part's" Spiegel Im Spiegel" for Violin and Piano played by Vadim Gluzman and Angela Yoffe.
http://www.youtube.com/watch?v=9qy5kdg3OdM&feature=plcp

Another unfortunate article about the ASO

Another article about the ASO with unflattering comments about management.  I am only linking to it and not endorsing it.  I simply don't have sufficient information. http://www.artsjournal.com/slippeddisc/2012/08/the-doctor-who-has-put-atlanta-into-intensive-care.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+disc%29   

A proposal....

There is much written about the plight of symphony orchestras in the current economy.  I too have added my perspective in an earlier article.  Many commentators say that a new business model is needed in order for symphony orchestras to survive but rarely do they provide guidance, other than to criticize the disparity between the average musician's salary and the salary paid to the orchestra's chief administrator.  And to say that symphonic music is an anachronism that belongs in a museum does not address the issue either.  In response to the paucity of ideas about a new business model, I have developed the following suggestions to help the financial health of many orchestras:

1.  The number of guest artists should be reduced while at the same time requiring that an orchestra's principal players to  present at least one solo performance in a season.  Maybe this won't work for all principals given the repertory, but it will work for most.

2.  A Music Director should be required to conduct the vast majority of concerts.  I suggest 85% being a good target.  The cost of bringing in guest conductors probably does not justify itself, particularly when it likely doesn't matter to patrons.

3.  The number of concerts per weekend should be reduced.  Downsizing, for example, from three to two might result in a higher percentage in seats being occupied in the two remaining concerts.  This is related to my discussion about musician salaries in point six below.

4.  Someone wanting a program for a concert should have to pay for it.  Otherwise, the name of each piece being played can be projected onto an overhead screen.  One rarely gets a free program in Europe.  If an orchestra wants to continue to provide a free program, then it should be a simple publication.  This may result in a loss of some advertising revenue, but it's likely that advertisers will still want access to the patrons, who are usually in a higher than average income demographic.

5.  Program a chamber orchestra-sized concert every month.  How this will save money related to musician compensation proposal.

6.  My compensation plan is rather simple. An orchestra's principal players will still be salaried, but will receive, say, a 20%  pay reduction from their current pay level.  For each solo or concerto  performance performed, each principal would receive a 10% bonus over his/her base salary. All other musicians will be paid a base salary that will be guaranteed no matter how many concerts they perform.  This base would include fringe benefits, such as health insurance and retirement.  The base would be significantly less than what the players currently receive in salary.  On top of this, the musicians would be paid hourly for rehearsals, performances, and travel. 

7. When a concert  requires a chamber-sized ensemble, those who do not perform will not be paid.  Musicians would bid to perform in these concerts.   Those who bid the lowest hourly rate would be invited to play.  If all bids are the same, the positions would be filled in seniority order (from highest to lowest), where seniority would be determined within each section.  This would put pressure on those with less seniority to underbid their more senior colleagues.  If management does not receive enough bids to staff appropriately, it would assign musicians to play in seniority order (highest to lowest) at the lowest rate previously bid.  This bidding system would encourage low bidding and provide an opportunity for those with lower seniority to perform with the smaller ensembles. 

Income should be based upon actual rehearsal, performing, and traveling hours.  This increases the risk to the musician's income, but incentivizes them to help keep costs low for the overall health of the orchestra.  It also guarantees that the musician's will have highly valued fringe benefits and a guaranteed base salary. 

This model is a break from tradition, but unless we find a way to address the high cost of major symphony orchestras, we may only a few survivors.

 

Discuss amongst yourselves. 

A bad week for the ASO....

The Atlanta Symphony Orchestra has had some bad publicity over the past few weeks.

The first incident involved the revelation that the orchestra members pantomimed a performance with the group Il Divo.  Here is a link to read about it: http://www.artsjournal.com/slippeddisc/2012/08/in-atlanta-the-orchestra-is-shamed-at-a-pantomime-concert.html

The second incident involves ASO management declining the participation of choral students from two suburban schools because they are not diverse enough to represent the Atlanta community.  Most notable is the outrage of parents as represented in their responses to an article that discusses the issue: http://northeastcobb.patch.com/articles/aso-to-lassiter-chorus-not-diverse-enough

The third incident involves the funding crisis of the organization, and the relative pay of management in comparison to musicians: http://www.artsjournal.com/slippeddisc/2012/08/whats-atlanta-paying-the-man-whos-locking-out-its-orchestra.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+disc%29

Yikes... A bad week for the Atlanta Symphony Orchestra

Read this article from one of the web's "go to" sources about classical music: http://www.artsjournal.com/slippeddisc/2012/08/whats-atlanta-paying-the-man-whos-locking-out-its-orchestra.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+

I only pass it along-not endorse it.

Also, the following situation may have been preventable, but its an embarrassment for all involved: http://www.artsatl.com/2012/08/atlanta-symphony-forced-pantomime-pre-recorded-tracks-sunday%E2%80%99s-il-divo-concert/

Pure speculation....

Marvin Hamlisch's recent passing leaves a Pops conductor position vacant in Pittsburgh.  Peter Nero is no longer with the Phillie Pops.  Maybe there could be an opportunity for Pittsburgh here.  

My Better Judgement...

Given the difficult nature of negotiations between the Atlanta Symphony Orchestra musicians and management, I will refrain from reviewing ASO concerts until a new contract is signed.  For more background, see: http://www.artsjournal.com/slippeddisc/2012/08/nobody-wants-to-audition-for-atlanta-symphony-orchestra.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsjournal%2FbQrW+%28Slipped+disc%29

Oh my 2...

Here is another article about the Atlanta Symphony's financial plight: http://www.accessatlanta.com/AccessAtlanta-sharing_/could-more-classical-music-1495065.html  It raises more questions for me, the answers to which the ASO board probably has answers, but here goes:

1.  Is it the core mission of the ASO to sponsor popular music concerts in North Atlanta?  Are the operational costs of the facility offset by ticket revenues and naming rights,and do these generate a surplus for the ASO classical programs?

2.  Why was the Verizon Amphitheater even needed when the ASO plays at the Chastain Amphitheater and Symphony Hall in the summer?

3.  Who actually owns The Verizon facility? Is it Woodruff or the ASO or some other organization? Who has to absorb any annual losses?

4.  Has the ASO spread itself too thinly by taking up too many activities?  Does this account for the ASO's budget being relatively large in comparison to major national orchestras that are more highly regarded?:

1. Los Angeles Philharmonic $97M (2011)
2. Boston Symphony Orchestra $84M (2011)
3. San Francisco Symphony $72M (2011) 
4. New York Philharmonic $69M (2012)
5. Chicago Symphony Orchestra $65M (2011)
6. Philadelphia Orchestra $46M (2011)
7. Atlanta Symphony $46M (2010) 
8. Cleveland Orchestra $42M (2012)
9. Cincinnati Symphony $38M (2012)
10. Pittsburgh Symphony $32M (2010)
11. National Symphony $30M (Washington Post, 9/05) 

(from the American Orchestra league).

Because not-for-profit organizations are not obligated to disclose board discussions, it is difficult to assess what ASO management has concluded related to these issues. 

Oh my......

Here is a link to an article about the finances of the Atlanta Symphony Orchestra: http://www.accessatlanta.com/AccessAtlanta-sharing_/aso-must-slow-tempo-1494346.html?cxntlid=thbz_hm.  While I appreciate that both sides in the labor negotiations paint a worst-case-scenario for bargaining purposes, I equally appreciate that the annual deficit that the orchestra is racking up is rather staggering. A nearly $20 million debt.  Really?  Of course the ASO is not alone.  The Pittsburgh Symphony had a deficit of roughly $2.5 million.  And the big kahuna Philadelphia Orchestra just emerged from its year-long plus bankruptcy within the past month.  New York classical music institutions are also suffering. So many commentators say the old models must change and sometimes those commentators fail to say to what.  Others make suggestions that seem to threaten the very existence and raison d'ete for the classical symphony orchestra.

I will suggest a stop-gap strategy to keep musicians employed, albeit at a less lucrative level.  This strategy does not consider any existing agreements between the musicians and management so maybe none of it can be implemented.  Here goes:

1.  Have the music director, who already makes a healthy salary, conduct more concerts.  A corollary of this is to engage fewer guest conductors.  I think most patrons would not really care.

2.  Have more concerto and solo pieces played by principals in the orchestra.  Yes, I know, they will get paid more for this, but then other, possibly more expensive soloists would not have to be paid.  Again I do not think most patrons would really care.

3.  Reduce the number of weekly concerts from 3 to 2.  Now this might seem to reduce revenue, but more seats could be filled.  Now, the house seems to be about two-thirds full in each of the weekly concerts.  Patrons may not like this, but I think most would adjust if the reasons for the action are clear.

4.  I know that this next suggestion may not save money with the current contractual arrangements, but make one concert a month a chamber orchestra-sized event.  Implicit in this is that musicians should be paid by the hours expended in rehearsal and performing. If I were in their position, I would not like this suggestion, but its better than having no symphony at all.

5.  Reduce the size of the orchestra and augment it with contract players.  Not good for the salaried, but good for the stringers.

6.  Add more of those Matrix-style and video game type performances.  It doesn't fit with the traditional model of a symphony, but then neither does bankruptcy.

7.  Pass the hat at each performance.  As distasteful as it seems, it may encourage donations from those who don't normally give.

8.  When food prices went through the roof in the 1970's, the food store came up with "generic brands."  Similarly, when newsprint prices increased, magazines published on poorer quality paper.  Time for orchestras to produce cheaper brochures and mailings.  In Europe, patrons pay for programs.  Why not here?  For those who don't have programs, announce each piece on the screens located above the stage.  I recently attended that Pittsburgh New Music Ensemble.  They did this, and it worked well.

9.  The community must further commit to keep this institution alive.  It does no good for the orchestra's management to keep this quiet.  The orchestra's financial situation should not be a secret.

I suggest using some of this strategy until the economy improves- if it ever does.  I am not holding my breath, but we must do whatever we can to keep the ASO the premier arts organization in Georgia.

A Rainbow at Wolf Trap

The National Symphony Orchestra played Grofe's Grand Canyon Suite and Holst's The Planets.  I won't review it for two reasons:
1.  I really dislike the Grand Canyon Suite
2.  The music was amplified, which made a very good orchestra sound unbalanced and strident.

But nature did provide a wonderful rainbow, and ultimately, a wonderful double rainbow. The pictures are from Robert Burns.