Huge pay cuts proposed in Detroit

A quick look at the current strike in Detroit Symphony Orchestra reveals that pay cuts of 33 percent are the nub of the problem. Although the orchestra offered 22 percent cuts in order to help the financial crisis, the 33 plus as well as serious loss of insurance and pension benefits was more than the musicians could bear. Musicians feel that Detroit deserves to have an institution to be proud of, and that the pay cuts would see a slipping of standards that would be to the detriment of the city. Although Sara Chang offered to give the revenues from her concert at the orchestra hall to the musicians pension fund (she was to be soloist, and instead offered a solo recital), with feelings running high she was criticised my many for passing the picket.
Best of luck to the musicians in resolving the strike.
Detroit Symphony Musicians Website

Handy List for Managers for Theatre Set Up

Whereas musicians often remain in the same employment for some time, the turnover of management is often much quicker. Many orchestra managers are very capable, but maybe not so experienced, and the last people to be involved in their training in are the musicians. Can I politely put forward some simple – maybe obvious suggestions for concerts in theatres - which may be a help to some managers out there if they want to help musicians do their job safely and well? Readers may want to put forward additions to this list – the current list relates only to lighting. Some of these suggestions will apply to other venues also, but theatres in particular strike me as the kind of venue an orchestra may visit as a once off, and the house staff may not always be very used to having one come and play. 

• Lighting should be from above to ensure good light on the music stands and not creating glare to musicians who have to read music for the two hours or so of the concert plus any rehearsals.
• Check light on music stands on the peripheries in particular.
• Make sure the conductor is well lit.
• Where side curtains exist, make sure there is lighting side stage so musicians can move safely. Often this is there during rehearsal periods, but theatre managers knock this off on the night of the performance. Actors may like to ‘break a leg’, but musicians don’t sign up for this – and the legal battles over whether the venue or the orchestra are responsible for the cost of a damaged instrument we could all do without.

How do we keep musicians in orchestras?

Sometimes it seems like there is an abundance of orchestra personnel leaving the orchestra, with a whole host of reasons. We may not always know or agree on why a person leaves, but it leaves a big hole in the orchestra that with audition and trial procedures at best taking months and not unusually taking one or even two years we have to wonder is there a way to keep musicians in the job.
We are in denial if we believe that the reason given is always the entire picture. A horn player may want to go and study law - but could that horn player as an orchestra member have felt more included in the orchestra’s decision making - artistic or administrative. Were they subject to judgements from those around them (section leader, conductor, colleagues, management) that affected their daily work environment? Of course they did not want to kick up a fuss - they would get nowhere anyway - but there was a deep unhappiness with either the atmosphere, the repertoire, the lack of control which they simply could not stand any more. A genuine coming together of all parties on a regular basis will surely promote understanding, and use the talents, expertise and knowledge of those who have much to offer through their individual and collective experience. Surely this is how we build (though I am sure it is not easy and takes time and investment of energy) a positive orchestra environment where players want to stay.