DOS Orchestra #49 - 22 January, 96

News from the world of professional orchestras.
Copyright 1996, International Conference of Symphony and Opera Musicians

Topics

A Meeting

The following statement was issued on December 22, 1995:

Representative managers of ASOL (the American Symphony Orchestra League) and the AFM (American Federation of Musicians), ICSOM (International Conference of Symphony and Opera Musicians), and ROPA (Regional Orchestra Players' Association) met on December 18 in Las Vegas.

After lengthy and frank discussion, the group recognized that it was in the interests of the field to encourage and foster studies of the long-term future of the orchestral institution. Based on its meeting, the group believes that it should meet again this winter with the assistance of a facilitator.

American Federation of Musicians: Phono Negotiations Snowed Out

A round of negotiations for a new national phonograph agreement, scheduled for January 8 and 9 in New York City, were postponed on account of the Blizzard of 1996, which shut down much of the east coast of the United States. Not only were many of the negotiators not able to travel to New York, but most of the employees of the AFM were not even able to get to its New York offices, where the negotiations were scheduled to be held.

The negotiations have been rescheduled for late January, by which time the east coast of the United States may have floated away in the runoff from the massive snowstorm. The storm also forced the cancellation of the Metropolitan Opera's first complete production of Janacek's "Makropolous Case," as well as stranding a number of managers of the largest American orchestras in New York City, where they were attending a meeting that was supposed to end on January 7.

Baltimore Symphony: Zukerman, Hamlisch to Join Conducting Staff

from the management of the Baltimore Symphony, January 22:

Baltimore Symphony Music Director David Zinman announced at a press conference held today that conductor/composer Marvin Hamlisch will assume the position of BSO Principal Pops conductor, beginning with the 96/97 season, and conductor/violinist Pinchas Zukerman will assume the position of Baltimore Symphony Summer MusicFest Artistic Director beginning with the 1996 summer season. The announcement was made from the stage of the Meyerhoff Symphony Hall during a press luncheon at which both Mr. Hamlisch and Mr. Zukerman were guests.

At the press conference David Zinman said, "I am proud of what this orchestra has accomplished and we are excited about our plans for the future. Recently I have felt that some of the areas of our concert presentations could benefit from very special leadership, however, and I am delighted that I will be able to work collaboratively with such an exciting artistic team. I am absolutely thrilled that Marvin Hamlisch will bring his award-winning style and expertise to our SuperPops series. And the extraordinary talents of Pinchas Zukerman will be an outstanding asset to the BSO as he develops and enhances our Summer MusicFest programs."

During the press announcement, BSO Board President Calman J. Zamoiski Jr. praised the accomplishments of David Zinman and the BSO during the ten-year partnership which is being celebrated this season. "The addition of Pinchas Zukerman and Marvin Hamlisch to the artistic leadership team will complement the great artistic successes of David Zinman and the Baltimore Symphony Orchestra and enable us to further enhance our future."

Marvin Hamlisch will conduct the opening weekend of the BSO's 8-concert SuperPops series this fall, and he will return to conduct a weekend of concerts in the spring of 1997.

Pinchas Zukerman said of his appointment, "It will give me great pleasure to work with David [Zinman], the staff of the orchestra and the talented musicians of the Baltimore Symphony. I look forward to creating interesting programs, exploring new projects, and initiating new ideas in educational activities within the community. We hope to do this through pre-concert lectures, master classes, and a combined effort to collaborate with local and regional educational institutions."

Czech Philharmonic: Conductor Controversy

from Prague Radio, January 14:

The controversy over the Czech Philharmonic's German conductor Gerd Albrecht has reached new heights, with some members of the orchestra publicly speaking out in his defense, others criticizing culture minister Pavel Tigrid for not having dismissed him months ago. The whole affair has become highly politicized with a storm of negative publicity in the German press, accusing Czechs of a nationalist witch-hunt against Albrecht.

The culture minister himself, who claims to have defended Albrecht for as long as he could, despite the fact that the conductor created numerous problems within the country's leading orchestra, has said he would try to correct the misunderstandings by explaining his position in detail in an interview for the German ~Die Welt~. In a statement carried by the CTA news agency he denied that the orchestra's changed status would restrict the conductor's artistic license, and expressed the hope that Albrecht would not leave his post.

Meanwhile, others feel that the minister has been unforgivably lenient. The leading opposition party of social democrats and a small Moravian party have both called on Tigrid to resign for not having dismissed Albrecht months ago in order to protect the image of the country's leading orchestra.

from Randy Campora, Baltimore Symphony:

On Monday afternoon (January 15), the Czech Minister of Culture, Pavel Tigrid, approved the new statute of the Czech Philharmonic, which is to come into effect immediately. This is the latest installment in the recent controversial history of the Czech Philharmonic.

The significance of this move is that Gerd Albrecht, Chief conductor and a German national, must hand over his powers of artistic direction to Jiri Kovar. Pavel Tigrid has denied that the alterations in the Orchestra will restrict Albrecht's authority.

The whole affair has become highly politicized with the German press accusing Czechs of launching a nationalist witch-hunt against Albrecht. The Chief Conductor, who is currently on tour in Spain, has not yet officially responded to the news.

Florida Philharmonic: Music Director Promoted (?)

from the management of the Florida Philharmonic, December 19:

Florida Philharmonic Music Director James Judd was named Acting Chairman of the Board at the monthly meeting of the orchestra's Board of Directors held today in Fort Lauderdale. Mr. Judd will serve the Philharmonic in this leadership capacity until May 31, or such time as a permanent chairman is elected.

The temporary appointment follows the Music Director's announcement two weeks ago that he would relinquish his conducting responsibilities until February 1 to concentrate his efforts on fund raising and board restructuring. He will return to the podium to lead the Philharmonic's first performances of Verdi's "Requiem" February 1 to 7.

"I would not be taking on the additional challenges of the chairman if I did not truly believe in our prospects for successfully raising the money we need and our ability to renew the community's confidence in the Philharmonic's board and management," said Mr.Judd in accepting the position. "One of our first tasks will be to put together a team to create a new governance structure, where everyone will have a place in our family and their talents and enthusiasm can be used to the utmost benefit of the Orchestra."

Executive Director John Graham informed the directors of positive developments in fund raising and ticket sales in his final report of 1995. "When you expend all of your energies grappling with a financial crisis of the magnitude of the one the Philharmonic is experiencing, it is easy to loose sight of the fact that there is much good news at the Orchestra," reported Graham.

Fundraising is progressing at a pace dramatically exceeding last year, with total giving toward the $2 million annual fund goal already reaching $982,000. In the first four months of the Philharmonic Preservation Challenge,856 new or increased gifts have accounted for $412,657 towards the $800,000 two-year goal set by the Knight Foundation. Additional challenges to the community will be announced in the new year.

There are more subscribers to the current season than to any other in Orchestra history. The year-to-date subscription total for the 1995-96 season is 19,413 for the "Masterworks", "Prelude", "Pops," and "Matinee" series. Subscription sales have totaled $2,777,467 this season, marking an increase in excess of $440,000 in just two years. During the 1993-94 season, the Philharmonic sold 16,573 subscriptions which totaled $2,344,624 in revenue.

Single ticket sales have shown an even more staggering growth. As of December 19, more than $307,304 of revenue has been generated in single ticket purchases, compared to $ 106,715 by the same date last year.

"While this news is extremely encouraging, we cannot forget for one minute the tremendous challenges still facing us. We must make every attempt to balance this season's budget. We must create programs which will encourage audiences to keep coming back. We must come to grips with our accumulated deficit. And most important, we must look to every sector of the community for new leaders who have the wisdom to guide the institution and the means to make a difference," said Mr. Graham in his concluding remarks to the board.

Mexico City Philharmonic: New Labor Agreement

from the Commission of Musicians of the Mexico City Philharmonic, Jan. 16, 1996:

We are glad to announce that the

AGREEMENT

between the Commission of Musicians of the Mexico City Philharmonic (M.C.P.) and the representatives of the Department of the Federal District (D.F.D. - Mexico City's Government) has been celebrated on January 10, 1996.

The agreement initiates a new epoch in Orchestra's life, for it modifies labor and artistic conditions in a very positive way.

One of the fundamental points of agreement is the increase of employment stability. Old system of annual contracts will be replaced by namings for time undefined. The seniority will be recognized for all active Orchestra's members.

An artistic commission will be created. For the first time in the Orchestra's history, there will be a platform for musicians (3 of 6 new commission's members) to participate and express their opinions regarding various crucial issues, like internal regulations, concert planning and admission of new members, which will be now by means of open and public auditions only.

The salary issue could not be completely resolved because of the general situation ruling in the country and the city, yet a little and insufficient raise has been achieved. On the other hand, the D.F.D. will incorporate the Orchestra into the national health care and retirement system (I.S.S.S.T.E.) and will provide the Orchestra with uniform concert dressings and accessories for instruments (strings, reeds etc.).

The Ministry of Social Development of the D.F.D. has decided to replace current Orchestra's administration creating a new entity to manage the Orchestra within the structures of the D.F.D. itself.

Last, but not the least, the naming of a new Music Director is to be expected, one who would give yet another push for this promising transition of the M.C.P. and lift the Orchestra to the new level of artistic excellency.

In the opinion of the Assembly of the Musicians of the M.C.P (all members), the agreement is highly positive. It brings the radical change that allows the Orchestra to avoid the imminently approaching artistic and labor collapse. Therefore, the musicians decided to desist from the labor compliant> imposed against the D.F.D. on September 29, 1995.

Certainly, the substantial improvement of labor conditions, the enthusiasm of musicians, the concern shown by the government of Mexico City - all this allows us to look towards the future of the Orchestra with much optimism, to the advantage of the Mexican music, culture and society.

[This text can be also found at http://www.compuvar.com/OFCM/ ]

Minnesota Orchestra: New Director of Artistic Planning

from the management of the Minnesota Orchestra, December 19:

David J. Hyslop, president of the Minnesota Orchestral Association (MOA) has appointed Asadour A. Santourian as director of artistic planning. A member of the MOA staff since March 1991, first as music administrator and then with the title of artistic administrator, Santourian was promoted to the newly-created position of director of artistic planning in September.

In his new role with the MOA, Santourian is charged with the responsibility to provide a cohesive artistic direction for the Minnesota Orchestra. He works primarily with Music Director Eiji Oue regarding the programming of the subscription season, as well as with David Zinman, who is artistic director of the Minnesota Orchestra's Viennese Sommerfest.

During his tenure with the MOA, Santourian was a member of the music director search committee that recommended the appointment of Eiji Oue as the Minnesota Orchestra's ninth music director. He also played a major leadership role in developing the Orchestra's Experience Weeks and its 90th anniversary celebration in 1993. He has also served as an onstage host at Viennese Sommerfest chamber music concerts and other events.

In August 1995 Santourian served on a panel of judges for the Barlow Endowment Competition. He is a member of the Minnesota Opera Board's Community Council, and he will be a finalist judge for the Young Concert Artists National Auditions in January 1996.

Santourian was born in Beirut, Lebanon, to Armenian parents who brought their family to the U.S. in 1969, settling in Boston. He studied at the Boston University School for the Arts, earning degrees in vocal performance; his professional engagements as a singer included a Carnegie Hall recital in 1981. He began his behind-the-scenes career as orchestra manager of the Greater Boston Youth Symphony and the Young Artist Orchestra of the Boston University/Tanglewood Institute.

Beginning in 1985, he spent six seasons as orchestra manager of the Springfield Symphony, continuing his Tanglewood affiliation during the summers. In his nine years at Tanglewood, he made what he describes as "strong and lasting connections" with artists and composers. Some of the young musicians with whom he worked there are now members of the Minnesota Orchestra.

Munich Philharmonic: New Principal Horn

from Professor Hans Pizka, principal horn of the Bavarian State Orchestra (Munich Opera), January 12:

"I'm proud to announce that Radek Baborak, sensational juvenile winner of the 1994 Munich International Competition & other competitions, soloist of the Weber Op.45 & the Schumann op.86 in Yamagata, has won the audition for the vacant other principal horn position of the Munich Philharmonic today, to be successor to Prof. Wolfgang Gaag, who is leaving fort the Munich Hochschule."

New York Philharmonic: Principal Cellist Takes Final Bows

Lorne Munroe, principal cellist of the New York Philharmonic since 1964, will retire in early 1996, orchestra officials announced on January 3. Munroe's final solo appearance with the orchestra will be the first weekend in February, when he will perform the cello concert of Robert Schumann. Two other orchestra musicians, principal violist Cynthia Phelps and principal trumpet Philip Smith, will also appear as soloists on the program.

Munroe, a native of Winnipeg, began his study of the cello at age 5. At 12 he was a scholarship student of Ivor James at London's Royal College of Music, touring Europe with pianist/composer Arthur Benjamin. He went on to study at the Curtis Institute with Felix Solomon and Gregor Piatigorsky. He won the Naumberg Award in 1949 and was appointed principal cellist of the Philadelphia Orchestra shortly thereafter, a position he held for 13 years.

Auditions for the principal cello position will be held in April and May, according to the advertisement placed by the orchestra in the ~International Musician.~

San Diego Symphony: Bankruptcy Filing Delayed

Although the board of the San Diego Symphony voted on January 9 to file for liquidation and Chapter 7 bankruptcy on January 16, the board has postponed the actual filing at least until the week of January 21. The reason originally cited for missing the January 16 timetable was to give the orchestra's controller time to compile pension information for the orchestra's bankruptcy attorney, Michael Andrews, but on January 17 Andrews said that several prospective donors had shown interest in keeping the orchestra out of bankruptcy court, although he emphasized that the board's resolution of January 14 to file bankruptcy remained in effect. Elsie Weston, orchestra board president and acting CEO, said that "without an infusion of funds, at least $3 million, and reduction of costs, there is no realistic prospect of continuing to operate or reorganizing the symphony's affairs."

Richard Levine, a cellist with the orchestra and the head of the orchestra committee, described the board's decision to file for liquidation as "a complete abrogation of their responsibilities as an organization both artistically and contractually."

In one of the many ironies of the situation, the week of January 15 was not a scheduled work week for the musicians in the first place, meaning that the orchestra would have run up very little in the way of additional expenses regardless of whether or not the bankruptcy filing had occurred. The musicians have not been paid since December 15, although they have continued to rehearse and perform.

The orchestra's last concert before the shutdown week was on January 13 to a full house at Copley Symphony Hall, the orchestra's home. Levine told the audience that "we have been told that tonight will be the last concert... we hope and pray that the future will prove otherwise... the musicians of the San Diego Symphony dedicate this concert, as we have dedicated our own lives in the past, to you, our audience." His statement was met with a standing ovation from the audience.

Meanwhile, two members of the San Diego City Council, Judy McCarty and Byron Wear, wrote a letter on January 16 to Weston asking for the immediate resignation of the orchestra's board. They also recommended that the orchestra be reorganized under Chapter 11 bankruptcy, rather than liquidated under Chapter 7. Weston rejected both the idea of the current board relinquishing control and the notion of continuing to operate under Chapter 11, while Andrews said that what the orchestra needs is a continuing donor base and a cheaper labor agreement with the musicians.

Jim Madaffer, Councilwoman McCarty's chief of staff, told the San Diego ~Daily Transcript~ that the public support for dumping the orchestra's board was "unlike anything we've ever seen... we're tired of excuses; we're tired of plea after plea. We want to have it proven to us that the symphony has put together a plan that allows it to stay in business, that allows a group of leaders to get it headed in a positive direction."

The vote on January 9 followed a vote on by the orchestra's board on November 19 to approve a budget of $5.7 million for the 1995-96 season, over $3 million less than the budget for the previous season. The figure was $800,000 less than the orchestra's previous projections of income for the 1995-96 season. Weston explained the discrepancy as the result of decisions to outsource telemarketing and to reduce the very successful SummerPops season from 12 weeks to 3 weeks. This would ensure that the orchestra would not be performing during the Republican National Convention to be held in San Diego this summer.

In pursuit of this downsized budget, which would have required a reduction of 9 weeks in the length of the orchestra's season and the termination of 6 musicians, the board has put pressure on the musicians to reopen the labor agreement reached between the musicians and the board in October 1994. At the time, then-board president Morgan said he thought the labor agreement would lead to a "supercharged environment for our community where the orchestra's concerned. We're right on the cutting edge and that's what I like."

The threatened bankruptcy seems intended to increase the pressure on the musicians. In a letter to AFM Local 325 secretary-treasurer Edward Arias on January 3 (the day the board originally planned to act), orchestra attorney George S. Howard Jr. wrote, "barring...meaningful negotiations to establish the Association's continued viability, the Association will be forced to pursue all remedies available to it." The threat of bankruptcy has become a potent one for American orchestra musicians since the Alabama Symphony successfully voided the collective bargaining agreement with their musicians by filing for bankruptcy two years ago.

The musicians have responded to the pressure from the board with a consistent refusal to reopen the agreement negotiated just over one year ago, as well as with public demonstrations in concert dress, including one at Mayor Susan Golding's "State of the City" address on January 10. They were joined by members of ~Voice of the Symphony Audience~, a community organization formed in response to the crisis.

The board's most recent proposal, which, according to the ~Daily Transcript~ was "advanced during an all-day meeting" between Golding and the orchestra's board on January 11, would have suspended the orchestra's operations until September 15 without invoking bankruptcy in order to allow the board to undertake a "planning and reorganization process." The proposal was unanimously rejected by the musicians, who requested at the same time that the board delay the bankruptcy filing. Weston responded by saying that "unless an agreement is reached, the Chapter 7 liquidation will unfortunately go forward."

The most recent developments come come after nine months of bad news for the orchestra. In May, the orchestra's executive director, Michael Tiknis, resigned, citing health concerns brought on by the orchestra's cash flow difficulties. Tiknis had led a successful effort to reverse declining ticket sales, which increased by 30% for the orchestra's winter season during his two-year tenure, while sales for the SummerPops series had more than doubled. He had also restructured the orchestra's administrative staff,increased the number and quality of guest artists and performers, and added several new series, including the Classic Encounters Rush Hour Series and two new series at the California Center for the Arts in nearby Escondido.

Board president Tom Morgan assumed the position of acting executive director after Tiknis' departure, saying that he would run the orchestra with the help of senior staff. Unfortunately all of the senior staff had left by the end of the year, with their positions remaining unfilled. Most of the orchestra's development staff left under what Morgan called "various circumstances" shortly after he took over. A promised search for a replacement for Tiknis eventually resulted in discussions with one candidate in late 1995 who declined to accept the position until the orchestra's cash-flow problems were fixed. The candidate later withdrew his name from consideration. More recently the board has been trying to raise money to bring former Atlanta Symphony executive director Thomas Bacchetti to San Diego,but has been unsuccessful so far.

The orchestra's desperate plight has occasioned considerable press attention, both locally and nationally. Many analysts have noted that the San Diego orchestra is in desperate trouble at the same time that the city has agreed to issue $69 million in bonds to finance the remodeling of Jack Murphy Stadium, the home of the San Diego Chargers football team. Mayor Golding was defensive about the comparison, claiming that the city had actually provided more cash to the symphony than it will to the stadium project.

Tiknis, the orchestra's former executive director, laid the blame for the situation on the orchestra's board. "There is no substitute for a committed board with a vision of the future," he told the San Diego ~Union-Tribune~. "It's a devastating reality to face. Some solution has got to be found to keep the orchestra playing, and most important the musicians have to continue to be valued by the board and community."

As DOS Orchestra headed for virtual press on January 22, the ~Daily Transcript~ reported that City Council members McCarty and Wear had met with members of the orchestra's board on January 22. While Madaffer, McCarty's chief of staff, described it as a "very pleasant meeting," he said that it had not changed McCarty's mind about what steps were needed. He pointed out that, when the City Council voted last August to advance payment of Transient Occupancy Tax monies to the orchestra, the council predicated its action on the orchestra's board presenting a restructuring plan. Madaffer said that the board submitted a two-page, short-term sketch and no long-term strategic plan on the Council's November 3 deadline.

John Perkins, chief of staff for Wear, also described the meeting as pleasant, but said that "Councilman Wear stands by his position vis-a-vis the resignation of the board, however." Perkins said that the lack of long-term planning was the main reason for Wear's demand for the board's resignation, which he described as "non-negotiable."

Board chair Elsie Weston said that new short- and long-term plans would be submitted to the board on January 23, and told the ~Daily Transcript~ that there would be "no filing (for bankruptcy) until we are sure that all options have been looked at and exhausted... we also want to give donors the opportunity to look at our new plans so they can be convinced their money will go to keeping the orchestra alive in both the short and the long term."

Seattle Symphony: New Labor Agreement

The musicians and management of the Seattle Symphony Orchestra have reached a new three-year labor agreement. The orchestra's executive committee approved the offer on January 4, while the musicians tentatively voted to accept the new agreement the next day.

The agreement, reached after months of negotiations and a narrowly-averted strike on New Year's Eve, provided for a weekly salary of $900 for the first year (an increase of $68 from the previous season), $950 for the second year, and $1,000 for the third. The orchestra's season will expand from last season's 41 weeks to 42 weeks in the first two years of the new agreement and 43 in the third year, with paid vacations increasing from 6 weeks to 7 weeks in the third year. Pension benefits were also increased by 12.5% according to the orchestra's management, while payments for recordings were increased and a guaranteed royalty benefit added. Compensation for recording will still be lower than the rates negotiated by the AFM for the country's other major orchestras, however.

Five years ago, the musicians accepted a reduction in their season from 46 weeks to 41 due to the orchestra's financial problems.

The contract was negotiated by the Seattle Symphony and Opera Players' Organization, a chapter of the International Guild of Symphony, Opera and Ballet Musicians. The Seattle Symphony musicians decertified the Seattle local of the American Federation of Musicians in the late 1980's, becoming the the only major American orchestra not represented by a local of the AFM.

The new agreement expires less than a month before the projected opening of Benaroya Hall, the orchestra's new $109 million venue. SSO executive director Deborah Rutter Card told the Seattle ~Post-Intelligencer~ that revealed "our respect and affection for the orchestra."
Copyright 1996, International Conference of Symphony and Opera Musicians

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