A relatively new grassroots website has done a great deal for the Columbus Symphony. Symphony Strong has helped the musicians feel the support of all of Columbus. We need all the help we can get since, tragically, little or no support has come from our local newspaper, the Dispatch. (One has to wonder what they are thinking.)
However, Symphony Strong and others like it, which formed to garner support, have struggled to break through deeper issues preventing a real blossoming of solutions. The bigger picture looks like this. The face of Columbus is not one or a few people, but a culture of all of us, our self-perception and how others outside the city see us.
Let’s say that I, David Thomas, see myself as a dashing, statuesque model, while others (unwilling to pop my bubble) see me as a craggy, half century old man. Who is right? I need to look closely at myself and find a positive overlap between those two views. I may not be a young model, but I can certainly enhance my image by spending some money on a good suit and a fine haircut and a fresh attitude. Then I can really like myself without self-deception.
Recent developments have quelled the CSO’s immediate financial crisis, with a generous gift to us tide over for the next few months. Yet the problem has not changed. In yesterday’s Dispatch article Gift lets Symphony finish, but after that… the leadership continues to insist on a one sided solution:
Management says support for the symphony — both from patrons and corporate donors — isn’t what it used to be and that the symphony needs to shrink. In January, managers announced a plan to reduce the budget to about $9.5 million, down from $12.5 million this year.
After musicians objected to that (first) plan, the board proposed a new contract keeping all musicians at a reduced salary and schedule, and requiring musicians to pay more of their health benefits. Musicians unanimously rejected that plan last week, leading to the impasse.
Judging from all the supportive letters of the past several months, many believe that high quality culture and music are important facets for a vibrant downtown and that Columbus currently achieves that status. Since January, none have accepted the proposed cuts as viable solution. Jan Ryan said in her Jan 28th letter to the Dispatch:
Anyone who attended Saturday evening’s CSO performance would agree that is was magnificent and we are not music critics but simply people who recognize the greatness of this orchestra!
Jerrie Cribb wrote in a Feb 5th letter:
You apparently do not realize how long it takes to build a superb instrument like this and what will happen if you cut it down. The best musicians will leave as will the fine conductor and we will be left with a mediocre chamber group
Betty Meil wrote on Feb. 7th:
Having moved to Columbus a few years ago from Cleveland, Ohio (which has a magnificent orchestra), I was very pleased to hear the excellent quality of the Columbus Orchestra — a first-rate orchestra.
But the vision to continue that high quality of music making on a scale representative of a city this size has not been tapped. Our (the city’s) self-perception and that of others is skewed by misconception. Much as we dislike it, we may be viewed as a cow town. Do we need to look in the mirror? The evidence is there, as shown in the April 4 Dispatch article entitled Grim reality: Perception is that city lacks in arts.
Supporter Donald Good, gave an ominous warning in his March 26 letter to the Dispatch:
I think it’s fair to say that if this orchestra, as it is now constituted and as it must remain in terms of permanent personnel (i.e. not a pick-up band), goes under, the rippling effect for the arts in the city, and the city’s reputation as a forward-looking entity, also will be widely affected.
One letter expressed frustration, such as Ann Elliot’s Jan. 24th letter, which ends:
Come on, Columbus! We must stop this madness and encourage the board to find other avenues to achieve fiscal security. As a start, we as a community must support our orchestra by consistently filling the house.
Bruce Ridge, Chair of ICSOM (International Conference of Symphony and Opera Musicians) put it eloquently in his letter (unpublished) to the Dispatch:
The question for Columbus should not be “can we continue to afford to support our orchestra”, but rather “how can we afford not to?” Too often lost in the discussion of orchestras in America is the simple fact that the arts are good business. The non-profit culture industry provides over 5.7 million jobs and accounts for over $166 billion in economic activity every year, including over $330 million in Greater Columbus alone!
In order to support the appropriate level of quality arts, Columbus leadership needs to face that it entails not only a lot of work, but also cooperation and coordination of forces. They also need to believe it’s all worth it. Here’s where the leadership needs to open their hearts. The people of the City trust those in power to do the right thing. We are ALL part of the Columbus identity, but only a few have the power to make our city’s dreams come true.
The public obviously supports a proud cultural downtown, but a gridlock of certain attitudes, in defiance of knowledge and opinion to the contrary, has prevented a creative solution to the apparent impasse in the Symphony negotiations. Healing needs to happen before we can see ourselves in a balanced and healthy way.
I see visionaries in Columbus who don’t have the clout. I see hard workers wishing to volunteer with no one to guide them in how to help, and I see money that needs some vision. What I don’t see in Columbus is all sides putting their heads together to make it happen.
Erich Graff of the Utah Symphony wrote to the Dispatch Feb. 5th:
In Utah Symphony negotiations some years ago, the musicians’ posture was that Salt Lake City deserved an orchestra that was a “Cadillac.” Our Board Chair responded publicly that “maybe the community deserves a Cadillac but can only afford a Chevrolet.” What happened? Neither the community nor the musicians agreed and instead they rallied—it is now more than a decade later… and the musicians’ base salary is 50% higher and the Board is far more committed to the growth of the organization.
This is where Symphony Strong could come in. It has tried to remain neutral, a commendable position, and one which is potentially constructive. However, I hope the site’s creators will begin to take some risks by seeking more commentary from all sides. Perhaps several in depth (and “informal”) interviews with board members, musicians and the community are in order. I volunteer. A tally of ideas and solutions could be published there for the perusal of all. We could even vote on which solutions would be most desirable.
I believe there is some movement behind the scenes to shift leadership toward a more constructive path in the negotiations. But those parties with good intentions may fear a backlash from others in power. The musicians have made it clear they more than ready to negotiate in good faith, a phrase too often used without appreciating its gravity. But they are wary, with good reason.
A healthy arts organization takes a lot of work. It used to be done by its board and management. The new trend, however, is to involve the musicians much more in the tasks of running the organization. I propose that and more; include the community even more in the discussion. They have made it clear they wish it so.
Let’s get a new attitude in Columbus so we can look at ourselves and know we are the best!
While Columbus decides if it wants to have a real orchestra, I’ve decided not to wait for that outcome, as some others in the orchestra have already done. Sometimes bad things happen for a good reason. Perhaps it’s my time to move on.
I auditioned for St. Louis Principal Clarinet opening a year ago, the first audition I had taken in at least a decade. I could feel the old, deep instincts sluggishly resurging in my veins. While practicing hours of excerpts, like soliloquies from a play, the familiar convoluted logic of making music minus 80 began to resurface.
I not only had to be in top mental and physical condition, but my equipment also had to be world class. Compared to playing one or two difficult excerpts during an average concert, to play all the big excerpts one after the other was like taking a 5 year old Audi with 60,000 miles for a race at the Indianapolis 500. Though a great car, it probably won’t win, and certainly not if in need of a tune up. No, I don’t blame the outcome on the instrument or barrel or reed or mouthpiece. It’s just one factor which inhibits the fastest race. Anyway, equipment issues began to settle before the audition, but not in time for me to be completely comfortable before the audition date.
My own physical conditioning had also sagged during years of driving on auto pilot. Living as a musician is like being a professional skater. You need to stay in shape. But doing it week after week you learn to prepare enough for tonight’s performance, not winning the Olympics. Few can do that over and over. Musicians maintain a great deal of flexibility to play one or two different styles on a few days notice. But the “Olympics” of music is auditioning, when one must do it all, top to bottom, side to side, now!
Even a soloist has time on her side, playing the same music over a series of performances, opportunities to fine tune and improve. The audition taker is not privy to such luxury. He has to perform a multitude of varied and even conflicting styles and techniques at the drop of a hat, in succession. A tall order for anyone.
Hundreds of applicants seem to feel up to the task, though, since auditions are always peopled by a herd of regular faces who are convinced they will win the jackpot if they put in another quarter. I don’t feel that way. The few auditions I took in the 80’s were successful, meaning I was at least a semi-finalist if not a finalist. I prepare for auditions with every cell in my body, mind and spirit. It takes years to prepare the foundation, then as the date nears, it becomes my life for months.
St. Louis was not meant to be for me, or perhaps I wasn’t meant for St. Louis. I wouldn’t have hired me! I was frightfully insecure and doubtful, not a good way to win. I’m sure my playing demonstrated my abilities, but certainly not at an Olympic level.
Someone recently told me she avoided broadcasting their intention to audition, especially to non-musicians. Even a good player loses more than they win. She recounted how frustrating it was to be asked innocently by non-musicians of the outcome of her “job application”, then have to explain that repeatedly failing, even chronically failing to win an audition is a relatively normal event in a musician’s life, unlike applying for a clerk or server position. One oboist I know took some 49 auditions before nailing a top 10 job. Something akin to building the Pyramids in Egypt, day by patient, persistent day.
So now I begin, again, to take auditions. This time I have secured (most of) my equipment to a high and stable level of quality. For the past year I have also gained, or perhaps refreshed, my self-confidence using all available techniques, including good old fashioned positive thinking and supportive friendships. I’ve also practiced and performed more solo works to put myself under more pressure.
I got “the list” a week ago. The list of music required is your map to the treasure, the puzzle to be unlocked. A lot can be learned from the list. Most big orchestras keep their lists fairly short, perhaps eight or ten excerpts. And most will specify the sections they wish to hear. Some will even make copies of all the parts they require, to clear up the often confusing issue of various conflicting editions of any one composition. This list cites 18 entire pieces, without any indication of movements or sections to be emphasized.
Clearly, they seek a Federer or Rodick for the job. Somehow I am not daunted. Since I have played principal clarinet for 25 years, I have played all the music they request in its entirety. I am as experienced for this position as anyone.
It’s one thing to be experienced, however, and another to be ready. To be ready to play any of those pieces any time, day or night, I must increase my endurance, flexibility and consistency. I have two months to do it.
The first thing I did was pull out a scale book, the most advanced I have, and began a daily regimen of several hours of basic technique. So that’s where I am as of this report, in audition “boot camp”.
I will report regularly on what and how I’m practicing. See you soon. I’m off to do scales.
“The mission of the Columbus Symphony is to develop and foster the art of orchestral music at the highest possible artistic level. Through its concerts, outreach, and educational activities, it is a community resource that is a major component of the quality of life in Central Ohio.†-From the Columbus Symphony Management Strategic Plan
“…The board, musicians and community must work together (because) Columbus deserves and needs this orchestra,” -Anne Melvin, Columbus Symphony Trustee, Columbus Dispatch, 1/18/08
“The foundation of the ARTS in Columbus is the Symphony. It’s the treasure that supports the Opera, the Ballet, and educational programs for children in the public schools.” -Joann Foucht, Women’s Association of the Columbus Symphony Orchestra, Columbus Dispatch, 1/28/08
“Last night’s brilliant performance by this maestro and this orchestra made believers out of everyone: The Hirokami Era has begun.†-Barbara Zuck, Columbus Dispatch
“…In six years I can make this orchestra one of the best.†-Junichi Hirokami, NY Times, 4/12/08
“…Business leaders and artists throughout the nation (are) watching Columbus. They… hope to see a demonstration of confidence in the future of this city.†-Bruce Ridge, Chair, International Conference of Symphony and Opera Musicians (ICSOM) Letter to Editor, Columbus Dispatch, 2/6/08
To the Citizens and Leadership of Columbus-
The world is watching Columbus as the Symphony Board of Trustees and Management request large cuts from an orchestra whose members are performing with world class quality. The orchestra took 11% pay cuts three years ago, now restored, to help shore up sagging financial support following a lengthy period without an Artistic or Executive Director. Better results were promised. Now management insists on 40% salary cuts to stabilize the organization.
A gem of cultural pride, loved by Columbus audiences, the Symphony as we know it would not survive these cuts.
The people of Greater Columbus Community know and appreciate the exemplary quality of the Symphony. A flood of supportive letters to the Dispatch has demonstrated this. Our fine Orchestra contributes to the vitality of downtown, both economically and culturally. Thousands of people attend regular concerts, enriched by the unique experience of live classical music. Thousands more benefit from the outreach and education fostered by the members of the Symphony.
In the past decade, total non-musician expenses have increased an average of 7% per year, while total musician expenses increased only 4% per year. In fact, the percentage for musician costs actually went down from 47% of the total budget in the ‘99-’00 season to 39% in ‘05-’06. Musician costs for the ‘06-’07 season were around 42%, at the low end of the national average of 40-50%. (*-source footnote)
The current total musician expenses amount to about $5.4 million out of a $12.4 million budget.* Why not maintain the heart of the orchestra, its musicians, and create a satisfactory budget built on that? Untapped gold mines of volunteers are eager to help. Grassroots organizations can generate untold support and revenue. Several burgeoning efforts are already proving their value. As a community let’s move into action and make it happen.
The Greater Columbus Community accomplishes great things with the right leadership. We all need to step forward and rescue this gem for our city.
“Across the country, exciting things are happening for symphony orchestras. …attendance is up, downloads are rising faster than for any other musical genre, …and the New York Times is proclaiming that this could be “the Golden Age for Classical Music.†- Bruce Ridge, Chair, ICSOM
I encourage you to be a part of the exciting things that are happening for symphony orchestras. Together we can make this happen.
Respectfully,
David H Thomas
Principal Clarinet
Columbus Symphony Orchestra
“I still want to believe there’s a solution out there.” Tony Beadle, Executive Director, Columbus Symphony Orchestra, Dispatch, 3/14/08
(* Sources- Total income and expense figures from audit reports provided by the CSO; Total musician expense figures from expense statements provided by the CSO)
David Salvage’s sent me his jazzy “Swing Tones” when he wrote it in 2006. I finally decided to play it on a recital this weekend. Here is a run through from last week played in my practice room, in front of my psychedelic orange Hawaiian quilt.
A relatively new grassroots website has done a great deal for the Columbus Symphony. Symphony Strong has helped the musicians feel the support of all of Columbus. We need all the help we can get since, tragically, little or no support has come from our local newspaper, the Dispatch. (One has to wonder what they are thinking.)
