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Dear Colleagues,

Please visit the following web site to view and sign an online petition supporting musicians of the Montreal Symphony Orchestra.

http://www.petitiononline.com/amosm/petition.html

Please forward this message to your contacts. The OSM musicians would like as many signatures as soon as possible.

Thank you. Following is a brief strike bulletin from the players.

COMPROMISE ARTISTIC QUALITY
WE SAY <<NON MERCI>>

- After 19 months of negotiations, on May 9, 2005, the musicians of the Montreal Symphony went on strike.

- The OSM musicians'trike is a DEFENSIVE ACTION. We refuse to let the present administration undermine our collective agreement.
- Playing amusical instrument is an endurance exercise. OSM musicians are elite artists who are constantly training, just like elite athletes.
- Among the physical dangers of an orchestral career: repetitive strain injuries (eg. tendinitis, bursitis), anxiety and stress resulting from the constatnt pressure to perform at high levels (constant exposure to criticism), moderate to sever hearing loss, etc.
- Musicians who are made to endure overly long rehearsal hours, irregular schedules, poorly planned or overly heavy programming are in danger.

IRRESPONSIBLY, THE ADMINISTRATION HAS CHOSEN TO IGNORE THESE FACTS

The OSM musicians' srtrike is a RECUPERATIVE ACTION. After 7 wage freezes in 13 years and no raise since 2001, we find ourselves 20% behind our Canadian competitors in terms of salary.
- Following some recent departures, we presently have 14 positions to fill. How will we be able to attract elite candidates?
- Since 1990, we have fallen from 15th to 34th in salary ranking in North American orchestras.
- Did you know that the musicians supply all of their own instruments? (Total value: $7 million!)
- Did you know that, in many cases, instrument loan payments are equivalent to mortgage payments?
IRRESPONSIBLY, THE ADMINISTRATION IS NEGOTIATING IN BAD FAITH, THREATENING THE ARTISTIC FUTURE OF THE ORCHESTRA

THE MUSICIANS ARE THE OSM!


For more information, please consult their website: www.amosm.org.

In Solidarity,

Mark Tetreault
Principal Tuba, Toronto Symphony Orchestra

This is certainly a valid point of view from the musicians.

I am curious if the orchestra is making money, or losing money; I just thought if the orchestra is making money and at the same time refusing to pay its musicians is different from losing money and strggles, trying to maintain the orchestra. But agains, I don't know a thing about how orchestra works, maybe someone with more knowledge will help me.

My guess is that the orchestra is not making a profit. I don't know of any orchestra that does.

The issue then becomes: is the board raising enough money, to make the orchestra work? Raising money is the the main function of a symphony's board.

I might add that it is, unfortunately, not at all unusual for an administration to adopt the tactics that are spoken of. We played for over a year without a contract in the 90's, and we had to threaten a strike before they would even "bother" to bargain in good faith. Unions may have their unappealing side, but when I became head of the players committee, all I can say is God bless the union for their support when we needed it!

Perhaps a topic for discussion (off topic). How many symphony orchestras could exist as revenue-producing for-profit enterprises? That is, tax-paying entities that don't depend on fundraising bake sales, grants or bequests for their operation.

Would there be any at all?

If not, what does this tell you?

Chuck(G) wrote:Perhaps a topic for discussion (off topic). How many symphony orchestras could exist as revenue-producing for-profit enterprises? That is, tax-paying entities that don't depend on fundraising bake sales, grants or bequests for their operation.

Maybe, the Boston Pops. If orchestras were forced to survive on their own financially, the "market" would clearly require a change of repertoire.

vaulter dude wrote:If only the world were fair..

... it would be a really boring place to live.

Chuck(G) wrote:Perhaps a topic for discussion (off topic). How many symphony orchestras could exist as revenue-producing for-profit enterprises? That is, tax-paying entities that don't depend on fundraising bake sales, grants or bequests for their operation.

Would there be any at all?

If not, what does this tell you?

If music's value were to be judged solely on it's fiscal earning ability, then we would be left with a very sad musical world!

No more Big Bands, and much more Rap!!!!

Mark wrote:Maybe, the Boston Pops. If orchestras were forced to survive on their own financially, the "market" would clearly require a change of repertoire.

Or a change of an operating model. The modern tenured-position full-time symphony is a fairly modern innovation. Why should music be different from any other occupation? Why not year-to-year contracts with performers? Per-service pay for less-used instruments like tuba and harp? 401(k) plans instead of a pension?

Chuck(G) wrote: Why not year-to-year contracts with performers? Per-service pay for less-used instruments like tuba and harp? 401(k) plans instead of a pension?

Already done for "Regional" Orchestras. Which pay PER SERVICE, and you're LUCKY to have any form of a guarenteed service contract. Bottom line: without tenure does NOT mean that they have to pay you, just that it's harder to fire you. And let me tell you, with all the egos running around in the music business, it's never the music director's fault if s/he doesn't know the score, gets lost, has a memory lapse, starts thinking about who they're hoping to meet at the reception, or a million other things... it's clearly the orchestra's fault for not bailing them out once again!

And it's great to have a senior management, many of whom who joined for the "status", who feel that since they are volunteers, just need to work as hard as "feel" like... and even the ones who ARE employed to run the orchestra feel no responsibility for their "employees", who don't enter directly into their evaluations...

So no, "for-profit" business models don't apply

But there are people and moments of great art, so you put up with the bad for the good!

windshieldbug wrote:[...it's never the music director's fault if s/he doesn't know the score, gets lost, has a memory lapse, starts thinking about who they're hoping to meet at the reception, or a million other things... it's clearly the orchestra's fault for not bailing them out once again!

Oh, I wasn't making an exception in the case of the MD or management, etiher. No "tenure"--the board sits down and looks at the books and says, "Hmmm, attendance down from last year, no new recording contracts--Goo'bye!

Wouldn't this be preferable to watching the slow death of the symphony world?

Chuck(G) wrote:"Hmmm, attendance down from last year, no new recording contracts--Goo'bye!"

I was including "the board" under management

windshieldbug wrote:many of whom who joined for the "status", who feel that since they are volunteers, just need to work as hard as "feel" like... feel no responsibility for their "employees", who don't enter directly into their evaluations...

We do need a different model, but rather than the orchestra being dismissed, I submit that it is the support systems that should be changed

DP wrote:eventually, the legions of displaced panpipe players died out,
never resolving their disgruntlement that the world changes.

That will only make my Zamfir albums more valuable.



Next year is the 250th anniversary of Mozart's birth. I have no doubt that many orchestras will be programming a lot of his music. Ought to be a really good year for tenured tuba players...

Chuck(G) wrote:Ought to be a really good year for tenured tuba players...

I'm sure that the handful of them that aren't per service will appreciate it! The rest of us can go back to our jobs at 7/11 and wait... (now, if I break my pan pipes off in the middle, can I use them to cue my posse for rap tunes, succa?)

Chuck(G) wrote:I have no doubt that many orchestras will be programming a lot of his music. Ought to be a really good year for tenured tuba players...

Considering what they had to go through, in order to become tenured tubists, I don't begrudge them the time off.

After all, THEY are not responsible for programming! (If they were, I'm sure there would be less Mozart, and a lot more Bruckner/Wagner/Mahler!)

Chuck(G) wrote:Or a change of an operating model. The modern tenured-position full-time symphony is a fairly modern innovation. Why should music be different from any other occupation? Why not year-to-year contracts with performers? Per-service pay for less-used instruments like tuba and harp? 401(k) plans instead of a pension?

This is worth a look too. I think it might be interesting to have "free agency". Imagine a "New York Yankees" version of an orchestra, where management is willing to pay whatever it takes to get the best musicians. There would be no auditions in the traditional sense. Scouts would go to concerts around the world, pick the best musicians and offer them a salary they couldn't refuse. If they didn't work out, they would be replaced. I could see salaries for the top musicians easily topping a million dollars.

Now, would this attract an audience? Well, if the orchestra talked the city council into to forcing the taxpayers into to financing a new 25,000-seat hall that would help. Then they could charge a minimum of $100 per ticket, so most of those taxpayers could not afford to go even if they wanted too. ... I think I'm becoming cynical.

Mark wrote:This is worth a look too. I think it might be interesting to have "free agency". Imagine a "New York Yankees" version of an orchestra, where management is willing to pay whatever it takes to get the best musicians. There would be no auditions in the traditional sense. Scouts would go to concerts around the world, pick the best musicians and offer them a salary they couldn't refuse. If they didn't work out, they would be replaced. I could see salaries for the top musicians easily topping a million dollars.

Maybe you're on to something, Mark--if only there were something to see at a symphony concert. Maybe a commentator would help--a la Peter Schickele. "Wait--wait--look at the second horn! I can't believe it! He's going to use his spit valve..."

I'd much rather go to an opera than a symphony concert any day. If I want to simply listen to something, I'll buy the CD--it's cheaper--and the sound is better than at most seats in a concert hall. And I don't have to put up with the chatter or stinky perfume or elbows from the people sitting nearby.

I might change my opinion if the symphony added a puppet show...



..and I can't stand the public professional sports welfare program either...

Chuck(G) wrote:Maybe a commentator would help--a la Peter Schickele. "Wait--wait--look at the second horn! I can't believe it! He's going to use his spit valve..."

French horns have spit valves?

Mark wrote:

Chuck(G) wrote:Maybe a commentator would help--a la Peter Schickele. "Wait--wait--look at the second horn! I can't believe it! He's going to use his spit valve..."

French horns have spit valves?

Yup, looks like this:

Oh, yes, from the label I can tell this mouthpiece is for a French horn player.