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cso musicians & management begin talks March 18, 2008

Posted by Charles Noble in : labor issues, music, the orchestra world, add a comment

The Columbus Dispatch reports that the Columbus Symphony musicians and management met at the negotiating table today for the first time since proposed cuts of musicians and weeks of the season (by 22 musicians and 12 weeks, respectively) were first presented to the musicians on January 17, 2008 (a presentation that the musicians, for better or worse, walked out on).

more columbus analysis January 19, 2008

Posted by Charles Noble in : labor issues, music, the orchestra world, add a comment

Robert Levine*, at his blog Abu Bratsche (best blog name I’ve seen in a long, long time!), points out that the problems that are coming to a head in Columbus are not financial in origin. (more…)

columbus lost at sea? January 19, 2008

Posted by Charles Noble in : labor issues, music, the orchestra world, 3comments

In a move which will likely result in the permanent crippling of a once fine orchestra, the management of the Columbus Symphony (Ohio) is proposing massive cuts of both orchestra personnel positions and the length of the season: the former down from 53 to 31 full-time musicians, the latter from 46 to 34 weeks. (more…)

harder than it looks January 17, 2008

Posted by Charles Noble in : labor issues, music, the orchestra world, 1 comment so far

So, should musicians have input into the programs that the orchestra presents?

It’s not an easy a question to answer. With orchestras, it’s always as many times complicated as there are players in the orchestra - plus the artistic administrator and the music director, oh, and the audience. (more…)

letters in response to Seattle NYTimes article December 29, 2007

Posted by Charles Noble in : labor issues, music, the orchestra world, 1 comment so far

In the upcoming Sunday edition of the New York Times, several letters are printed in the Arts section - you can read the complete letters (as printed) here.

Here are some of the best parts of some of them: (more…)

damning article on seattle symphony December 15, 2007

Posted by Charles Noble in : labor issues, music, the orchestra world, 2comments

conductor Gerard Schwarz

The New York Times today published an article of not insignificant length dedicated to the Seattle Symphony and its intense level of discord between its musicians and its music director and conductor Gerard Schwarz. (more…)

detroit dodges (most of) bullet December 14, 2007

Posted by Charles Noble in : music, the orchestra world, add a comment

An article was published today in the Detroit Free Press about the year-end fiscal situation at the Detroit Symphony, which had posted three consecutive years of balanced budgets - until this year. They were running an annual deficit for this year of $2 million, but managed to erase all but $190,000 for the end of year accounting. Pretty good, huh? No - not in the least. (more…)

duda-mania? December 1, 2007

Posted by Charles Noble in : music, the orchestra world, 2comments

This is the review that did it for me - New York Times music critic Anthony Tommasini fairly wetting himself over the Philharmonic debut of conductor it-boy of this decade, Gustavo Dudamel. (more…)

jacksonville musicians locked out November 17, 2007

Posted by Charles Noble in : music, the orchestra world, add a comment

The Jacksonville Symphony has locked out their musicians as a result of a negotiating impasse.  You can take a look at the musicians’ website here.  I feel for the musicians - they’re one of the lower paid orchestras in ICSOM, and they’ve been having difficulties for the past several years, at least.  Whatever and whoever is at fault for the negotiations process arriving at this point, something is clearly wrong - work stoppages, whether strikes or lockouts, are always the result of a breakdown in communications.  I hope that a resolution can be reached without undue strain on either the musicians or the organization as a whole.

perspective October 19, 2007

Posted by Charles Noble in : the orchestra world, 1 comment so far

I wasn’t able to attend the Oregon Symphony’s annual membership meeting this afternoon due to teaching commitments, but I did read the summary by local arts journalist James Bash, and I have some thoughts of my own.

First of all, it must be said that the financial situation of the symphony is undeniably precarious. It is a very serious threat to the future health of the orchestra, and steps must be (and have begun to be) taken to improve the financial underpinnings of the organization.

This having been said, the orchestra continues to perform at a very high level, and we are performing interesting, engaging programs. In addition, I feel that in Elaine Calder we have found just the kind of no-nonsense leadership that we need to get ourselves out of this financial mess. In a remarkably short time she has really gotten a feel for what works and what doesn’t within the organization, and is rapidly developing a snapshot of the inner workings of the arts scene in Portland.
I also feel that the musicians are cognizant of the issues facing the organization, and are willing to be partners in finding unique, collaborative ways to solve these problems. I don’t think (as someone with no special or advance inside knowledge) that there will be major changes in what symphony patrons see when they go to concerts, but there will doubtless some changes behind the scenes that will enable the organization to grow and thrive in the coming years.

My biggest fear is that, in the short time of transition and restoration, the symphony will fall out of the top echelon of arts organizations that create buzz and excitement in the community. We’ll continue to be the largest, in terms of budget, but in the arts coverage of the past year or so I’ve noticed much more focus on innovation at the Oregon Ballet Theater, exhibitions at the Portland Art Museum, and other such organizations as Body Vox, Whitebird Dance, and Portland Center Stage. I hope that we’re able to keep a good balance between ensuring survival and creating new and interesting experiences at and around our concert presentations.