Drew McManus pointed out a piece written by Michaela Boland which had some interesting quotes by Greg Sandow with whom I don’t necessarily agree on many points though he is one of the critics of the current status quo of Classical Music in the US.
Among the orchestras that have shut their doors and dismissed players there are some groups that have survived due to radical restructuring, which is where Sandow sees the future of the industry. Columbus Orchestra, by way of example, staved off closure in 2008 and retained 53 full-time players by reducing salaries by 27 per cent. Detroit Symphony Orchestra is engaged in similar talks with players.
Sandow argues that players in America’s top orchestras have traditionally been well paid, with salaries above $100,000, and the cuts are having an invigorating effect. “It’s interesting to talk to young musicians about this; they don’t see it as a problem, they’d consider themselves lucky to get any of these positions,” he says.
Historically, however, because of the status and the good pay, few of them could secure such jobs.
Sandow says that if the Philadelphia Orchestra were to suddenly discharge all its musicians and replace them with young players on contract, what might be lost in polish could easily be made up for in pizazz.
“I wonder if that wouldn’t be more exciting to hear,” he says. “It might really surprise people.”
This echoes some things said by Eric Edberg during the Detroit Symphony Orchestra debacle
I’m living in New York this semester, and have met a number of young free-lance players, some of whom are graduate students at big conservatories. Guess what? Most have little if any sympathy for the DSO players (who have not managed to successfully reframe the conversation and are losing the PR war, even with music students). They love all sorts of music in addition to classical music. Plenty find traditional symphony (and other) concerts boring. There are plenty of classical-change advocates, in various stages of self-awareness, among them. Right now, they have little or no work. Student and, in many cases, instrument loans to pay. Fantastic players.
Many see the union as the problem (even if they’re not going through one of those college-age Ayn Rand phases). The players have been successfully characterized to/construed by them as greedy, selfish, and/or out of touch. A lot of these incredibly-accomplished young players (and I bet there are bunches more in Baltimore, Bloomington, Cincinnati, Cleveland, LA,Miami, etc.) seem excited at the idea of going to Detroit to work in a “new model” symphony.
While Unions may or may not be the problem (cf. Michael Kaiser’s recent post, Are Unions to Blame?) there is this sense that for good or ill, with younger musicians (many of whom are, as Eric says, struggling as freelancers much less in this economy) who haven’t matured in the Union environment, few are going to have as much sympathy as those musicians who rely on collective bargaining to sustain their livelihood.
On the other hand, a question I’ve been exploring–or rather, I could reframe the title of this blog post in a different way–is, “Are Western Orchestras Replaceable?”