Detroit

[king2ba]

Anne Parsons (DSO top management) makes $410,000+ a YEAR in salary, has a $30,000 "tea and cookie" budget for her office, and is provided with a home in GROSSE POINTE free of charge (not in Detroit...) among other benefits.

She has taken no cuts in pay or benefits and yet has led the orchestra into huge debt with self-aggrandizing (name things after board members and their relatives), unnecessary physical plant "improvements." Despite down turns, she pushed ahead with projects once "names" were attached to them in efforts to not offend.

Should they have take one of the offers? Are they paid too much? Not for me to say. I will say that the changes that should have happened should have started from the top and should have happened long ago.

As a matter of fact, that change should happen right now before the strike is settled. The board of "directors" needs to put down those silver teaspoons and wake up. Like that'll happen...

I think this makes my point, Larry. The people running the ship are going to sink it. They are too well connected and too far intrenched for anyone to have any influence to get them to change. So, the musician's in Detroit should quit and go work for better managed ensembles. The problem is, they can't, so they bitch, complain, and refuse to work. We live in a world where the general population believes they could live without the arts, and these guys are giving the people what they want. Instead of making people see how much the orchestra is actually needed, they are showing that life will go on even if Orchestra Hall is dark. It was a stupid way of thinking in the 50's....it's suicidal thinking now!

[Michael Bush]

She definitely ought to volunteer for a pay cut in this circumstance. A big one.

In all likelihood she had no choice on the named projects, since usually those are funded with designated gifts. You either do the project or give the money back. Sometimes the donors will renegotiate, but if they did it probably wouldn't be to use the money for unrestricted annual support.

[Michael Bush]

Ouch. Naming things on spec doesn't work. That's really too bad.

[b.williams]

Springfield and Hartford also have Steve Perry on tuba in common!!!!

[Mark]

What some "symphony" related folks of all types seem to forget it that they serve at the whim of the audience. Whims have changed and so have audiences.

Actually, this is only 30% true. Ticket sales are only about 30% of an average orchestra's income. If the government grants and the private donations were to dry up and the orchestra depended solely on ticket sales, it might make orchestras more responsive to the tastes of their audiences. Unfortunately, I suspect that the orchestra would just go the way of Detroit instead.

[Monstertuba]

LJV: Musician are just glorified servants.

I think this is one of the most profound statements yet. But it doesn't (shouldn't) follow that this is a bad thing. As musicians we so easily get caught up in what we want. "I want that big orchestra job, or big college teaching job, or I want to be the next Roger Bobo or Oysteen Baadsvick (sp?). We forget though that our primary purpose (as I see it) as musicians is to serve others musically. We spend years and years honing our craft to get to the point that we can show an audience the beauty of our music. To help brighten their day, to broaden their lives with art and our skills and to entertain. This is our very purpose, and those religious types amoung us (and I'm sure non religious types aswell) you probably know or have realized that there is no higher purpose than to serve.

I am not a member of a major (or even minor) orchestra but I've had some pretty cool sub opportunities. The musicians with whom I've had the opportunity to play, that recognize their purpose as servants, are incredibly happy, greatful, enthusiastic, wonderful, people who thank their lucky stars for the fortune of being able to do what they do. Everyone reading this knows of at least one person, and probably many more than one who does not approach or think of music in terms of service to others but in terms of serving their own interests. They might, in some cases be described as bitter, unhappy, complaining even miserable in the profession that so many of us have dedicated a good portion of our lives to be involved with. The difference between these two mind sets/types of people is profound.

What does this have to do with Detroit, well, draw your own conclusions. The capitalist in me says 'innovate or die'. Why should arts institutions be any different? I love, for example, what Opera Philadelphia has been doing, in malls and public places. Brilliant. (do a youtube search if you haven't) If the populace doesn't recognize the value of the art form, then you're just going to have to teach them. It may not be as simple as playing the masterworks and expecting them to recognize the genius there in. When you offer a child candy or vegetables/fruits they will almost always choose candy unless you teach them why they should eat and enjoy vegetables/fruits instead. (or in addition to).

This is not a rich person poor person thing either. Whether rich or poor, high or low, we will always be happier when we realize our purpose is to serve those around us. This is as true for musicians as it is for management. In fact, I would suggest that it is the musicians purpose to serve the public and managements purpose to serve the musicians. Or the people that makes it possible for the management to serve the public. I submit that if this principle became the core of arts institutions they would quickly find themselves relevent again, and thriving. Maybe I am naive and this service attitude is more prevelent than I think it is. I hope so. But given that orchestra musicians have some of the lowest job satisfaction rates, I really don't think I am missing it.

Final note of this long post: consider, for those who are still taking auditions what would change about your audition if your purpose was to serve the committee musically?

[cjk]

This might be considered a good read if you're concerned with this topic:

http://www.woodwindforum.com/forums/sho ... php?t=2836" target="_blank

[Alex C]

If the government grants and the private donations were to dry up and the orchestra depended solely on ticket sales, it might make orchestras more responsive to the tastes of their audiences. Unfortunately, I suspect that the orchestra would just go the way of Detroit instead.

Government grants supply only about 10% of the operating budget for most orchestras. There are exceptions, of course but not to the extent that you might think.

[Mark]

I'm sure those "private donations" come from disinterested parties, too.

I can think of a few people who have made significant donations to orchestras and the only time they attended an orchestrta concert was the one given to honor them for their donation.

I realize the world is not perfect. But, in a perfect world, orchestras would be self-sufficient through ticket sales.

[sloan]

I'm sure those "private donations" come from disinterested parties, too.

I can think of a few people who have made significant donations to orchestras and the only time they attended an orchestrta concert was the one given to honor them for their donation.

I realize the world is not perfect. But, in a perfect world, orchestras would be self-sufficient through ticket sales.

Try roughing out a budget. Write down ballpark salaries and other expenses. Now, write down ballpark ticket prices, number of performances, and reasonable total attendance. Do they balance?

If not, how do you fix it? One was is to widen the gap between the cheapest ticket in the house and the most expensive ticket. The cheap seats boost the number of butts in the seats - the expensive seats boost the amount of $$ you collect. Finding the right balance is the tricky part.

Find ways to charge OUTRAGEOUS prices for the most desirable seats. If you do it right, you can charge $1million per ticket (for a very few, very rich patrons). Perhaps you could spring for a few drinks, or a private meeting with the principal Tuba player, as an extra incentive (the benefit of selling just ONE more of these $million tickets is very high!)

I know of one orchestra that seems to be doing this right - but then they rose up from the ashes of a bankrupt predecessor. In my opinion, the key to their success was that they refused to "come back" until there was a sound financial plan in place. So far (cross your fingers) it's working. Part of it is outreach; part of it is more programs (for more audiences, with varying musical tastes) - but most of it is hard nosed economics. And, some of it is care and feeding of those who are willing to contribute.

Perhaps it will be necessary to destroy Detroit, in order to save it.

[Alex C]

Not to disagree, but the parameters are wrong. I think any uninvited guest in the special donor’s room would be unwelcome, just as the donor would be unwelcome wandering through the orchestra during a performance or even participating in a performance. Many wealthy people understand and appreciate the skill involved in our art, that’s one of the reasons they continue to donate money.

Saying that orchestra musicians are glorified servants is too sweeping a statement for me to accept and none of the major orchestra members I know have ever hinted at that. As a rule, they appreciate the donors and feel appreciated in turn. Speaking about the management of orchestras is a different matter.

The wealthy who contribute are as different in personality as the musicians who play in orchestras and I have never envied them in terms of our art form. The reason I don’t envy them is that
they are on the wrong side of the stage
and there’s nothing they can do about it.

[sloan]

they are on the wrong side of the stage
and there’s nothing they can do about it.

There are many stages.

[Alex C]

they are on the wrong side of the stage
and there’s nothing they can do about it.

There are many stages.

I was referring to the stage on which music is performed. Hope it's clear now.

[AHynds]

I don't know if this has been brought up in this topic yet, but here's a summary of the final offer in last week's negotiations (found on the DSO's website). Granted, this appears to have been written by people on the administrative side of the negotiations, but it seems to be kosher.

http://www.detroitsymphony.com/upload_f ... 021511.pdf

[jacojdm]

Looks like things were worked out. First concert was today.
http://dso.org/page.aspx?page_id=703" target="_blank