Drew McManus has a good roundup of the current LO situation in his most recent post. I really don’t have much to add except that given how closely I’d been following the situation I kinda saw this coming while I remained hopeful. Drew also saw this coming: as an industry expert and consultant he’s seen this happen and saw all the checkpoints that lead to this destination. His advice to the parties involved is in the post but I’ll post here for my reader’s convenience:
Managers & Staffers: get out of Dodge as fast as you can. There have been a number of very nice job openings posted at Adaptistration Jobs this past week; stop by and see if there’s one you’re qualified for.
Musicians: get out of Dodge as fast as you can. I know a number have already left for other work; some of which is orchestral playing but others have found academic positions.
CEO: save every penny, start planning for an employment transition, and take the first reasonable offer that comes along.
Board: unless staying in the fight offers some sort of side political benefit (in which case, I’m sorry), resign now and move on to a new philanthropic endeavor.
Patrons: buy a bottle (or twelve) of your favorite spirit, put on an old LO recording, and gently sob while lamenting the fact that you no longer have a professional symphonic orchestra.
I might disagree a little with Drew’s comment that “Neither side has displayed any real vision or leadership, which only reinforces the notion that having either side cave only prolongs the dysfunction” to an extent. I thought the Keep Louisville Symphonic was a grand idea that, if it were allowed to, might have been a way actively involve the musicians in the LO organization in ways to help generate and maintain buzz about live Symphonic music.
In some ways I feel as if the musicians caved in too early with that organization (though technically it isn’t defunct organization by any means). It could possible be part of the foundations of a new orchestra (or at be a part of the infrastructure that helps to create a new orchestra from these ashes). What was difficult is that the organization was so clearly a plea to the LO as well as to patrons and that implicitly made it a threat to the LO organization itself (as one of the rejected contracts the LO gave to musicians in the past can attest).
Regardless, I think it might be best to cut the losses and move on with rebuilding an orchestra. I think the musician owned Louisiana Phil might be an agreeable model for our musicians here! Maybe what would have been the 75th anniversary (this past September) can now be the year of the new orchestra!
One thing to keep in mind with these discussions of Orchestras (at least in the states) is that there is a definite separation between the Orchestra itself as an organization (e.g. Louisville Orchestra) and the musicians and their organizations that make up the heart of the Orchestra (e.g. Louisville Orchestra Musicians Association; Keep Louisville Symphonic).
In particular some of us are very interested in the attempts of the LO to short circuit many initiatives and avenues for the musicians’ voices (see the discussion about the KLS clause in the comments section in particular).
All of this comes to us in the DVD documentary, Music Makes a City, which the piece references:
Music Makes a City, an engaging documentary from last year about the Louisville Orchestra that was just released on DVD, offers an inspiring and cautionary tale of creative chutzpah and financial mismanagement. The orchestra, which itself filed for bankruptcy in December, was founded shortly after the floods that crippled Louisville, Kentucky, in 1937.
It began as a ragtag ensemble that rehearsed, according to the film, “in a gloomy room that smelled of stale beer.” A young conductor, Robert Whitney, quickly drummed the ensemble into shape, but financial problems loomed from the start. Charles Farnsley, the mayor of Louisville from 1948 to 1953, suggested that the orchestra, instead of spending money on glamorous soloists, commission new pieces: a policy that the board, though initially shocked, adopted. The endeavor was facilitated in 1953 by a US$400,000 grant from the Rockefeller Foundation to commission and record 52 compositions a year for three years. The DVD features lively interviews with some of the composers chosen, including Elliott Carter.
This remarkable venture, which resulted in works by Lukas Foss, Paul Hindemith, Roy Harris, Gunther Schuller and many others, put Louisville and its orchestra on the international cultural map and attracted luminaries like Shostakovich and Martha Graham to visit the city. But that wasn’t enough to fend off the regular financial crises that have dogged the orchestra over the decades since, until its recent bankruptcy filing.
I don’t want to make this post commentary heavy, but did want to share the above quote for some historical context–do read the Taipei Times piece!