Tag Archives: orchestra

Delta Air Lines Foundation has pledged to make a $2.5 million contribution to the Atlanta Symphony Orchestra (ASO) Musicians’ Endowment Fund to help the orchestra reach its $25 million goal to permanently endow 11 musician positions.

Launched in 2014, the Musicians’ Endowment Fund is a key component of the Woodruff Arts Center’s $100 million Transformation Campaign. The foundation’s gift completes the Musicians’ Endowment Campaign nearly two years ahead of schedule. To date, more than $25 million in funds have been committed to the endowment fund and nine musicians have joined the orchestra over the past year. The Principal Tuba Chair held by Michael Moore, who celebrates his 49th season with the orchestra, will be named the Delta Airlines Chair.

“We are profoundly grateful to the Delta Air Lines Foundation for this transformational gift,” says Jennifer Barlament, executive director of the Atlanta Symphony Orchestra. “[It] will help lift the orchestra into a new era of artistic vitality and service to the community.”

Symphony Orchestra’s Players Association President Danny Laufer says, “This is a reassuring signal that the rebuilding of our orchestra is on the right path towards a brighter future.” Atlanta Symphony Orchestra musicians are members of Local 148-462 (Atlanta, GA).

Books-Resources, Products

Daniels’ Orchestral Music

August 31, 2016 IM

Daniels’ Orchestral Music is an in-depth guide for conductors, music programmers, orchestra librarians, and students researching orchestral programs. This updated fifth edition contains more than 8,500 entries, organized alphabetically by composer and title. Each entry includes the piece’s date of composition, duration, and instrumentation. Appendices include lists of chorus and solo works, plus lists of instrumental works by instrumentation, duration, those intended for youth concerts, anniversaries of composers, and composer groups. The “Orchestralogy” appendix provides a bibliography and gives Internet resources, institutions, and organizations of interest to orchestra professionals.

Daniels’ Orchestral Music, Fifth Edition, by David Daniels, Rowman & Littlefield, www.rowman.com.

Recent News

Canadian Orchestras Reach Out to Broaden Their Audiences

July 1, 2016 IM

by Bernard LeBlanc, Director AFM Symphonic Services Division Canada and Christine Little Ardagh and Steve Mosher, Associate Directors AFM Symphonic Services Division Canada

Globally, symphony orchestras have had to creatively engage with their communities and audiences in the past several years to increase their health and sustainability, and Canadian orchestras are no exception. These four orchestras from different regions of the country are trying new ways to communicate with and educate the younger generation, while they develop broader audiences across all age groups. These are examples of the kind of innovation being developed by many of today’s music organizations.

Vancouver Symphony Orchestra

Vancouver Symphony Orchestra (VSO) in British Columbia has been extending its profile within the community and building new audiences with a busy and far-reaching summer season. Their yearly concert at Deer Lake Park in Burnaby is free to the public and attracts as many as 10,000 people each year. They also regularly perform at Bard on the Beach, an outdoor theatre festival.

Their most exciting new initiative is in Whistler, British Columbia. In summer 2013, they began performing free outdoor concerts at the Whistler Olympic Plaza. In 2014, they created the Vancouver Symphony Orchestral Institute. Run in conjunction with the concert series, it offers students aged 15 to 25 a once-in-a-lifetime comprehensive orchestral training program. The young musicians, who audition to take part, play in the Whistler Institute Orchestra, rehearse and perform chamber music, attend master and repertoire classes, and receive instrument-specific instruction from faculty. Student and faculty recitals, as well as a concert featuring the Whistler Institute Orchestra, are added to VSO concerts to create an exciting and diverse audience experience. This year students will perform Stravinsky’s The Rite of Spring and Don Juan, by Strauss, directed by VSO’s Maestro Bramwell Tovey.

Orchestre Symphonique
de Montréal

Across the country, in Québec, the Orchestre Symphonique de Montréal (OSM) is planning the fifth season of its very popular La Virée Classique. The orchestra generally kicks off the event on a Wednesday night with a free concert that draws tens of thousands of people to the esplanade of the iconic Olympic Stadium. This year’s opening performance will feature excerpts from Gustav Holst’s The Planets, conducted by OSM Music Director Kent Nagano. In celebration of athletes from Canada and around the world who inspire us, 100 young Québec athletes will participate. In the four-day program renowned guest soloists will perform with the orchestra, as well as with OSM musicians in chamber music concerts.

The 2016 lineup comprises chamber music concerts, orchestra concerts, and many activities to interest and entice a wide range of audience members, including children. Last year children were treated to face painting and a make-your-own-instrument atelier. There are informal talks such as a Q&A corner with OSM musicians, conducting 101, and workshops featuring musicians and their instruments. This enormously popular festival takes over the whole of Place des Arts, with all five halls hosting concerts and special stages set up for various activities. Incredible momentum and excitement builds during the program. By the time the last note of the last concert is played, everyone is on a high! The concerts are priced accessibly at $10 to $40. This year’s 30 concerts, scheduled to run August 10-13, include 19 that are free.

National Arts Centre Orchestra

The National Arts Centre Orchestra’s Alexander Shelley has been music director of this Ottawa orchestra since September 2015. One of his first initiatives was the commissioning and creation of Life Reflected, a multi-disciplinary piece blending music, literature, dance, photography, and film. Shelley, in researching the culture and history of our country, was inspired by the stories of four remarkable Canadian women, each determined to find her own voice despite extremely difficult circumstances. Creative Producer Donna Feore, who collaborated with Shelley for two years in the creation of this new work, was key to its successful production. The four women featured in the work are author Alice Munro, astronaut Roberta Bondar, poet Rita Joe, and the late Amanda Todd, a teen victim of cyberbullying.

All of the music was commissioned and written specifically for this project by four talented Canadian composers. All of the audiences’ senses are engaged with the inclusion of a live singer, several actors, dance on film, and graphic design elements, with the orchestra as a “character” in the piece. Included in the May premiere of the piece were apprentices of the Institute for Orchestra Studies, a program established by former NACO Music Director Pinchas Zukerman nine years ago to help prepare talented young musicians for successful careers.

Orchestra London

Musicians of Orchestra London, in London, Ontario, have had a challenging two years. In December 2014, operations of the ensemble were shut down due to massive budget shortfalls, and in May 2015, the organization formally filed for bankruptcy. In spite of these setbacks, the musicians were able to self-organize and have continued to be creative in their ongoing efforts to promote their orchestra and classical music within their community, through collaboration with other local arts organizations, and performances in new and sometimes unusual places. They tweet and have a constant, and sometimes humorous, presence on Facebook, in addition to their website and blog.

In October 2015, the musicians invited Londoners to take part in an online survey as a way to engage the community in future planning and strategizing. In 2015,
#WePlayOn (former musicians of Orchestra London) performed more than 15 concerts to keep up their visibility and profile. These were planned entirely by the musicians and put on using private donations and ticket revenue, as well as donated services. They have honoured Orchestra London subscriber concert tickets for their performances in restaurants, churches, and high school auditoriums. As the musicians say on their website, they have “boldly and ambitiously played on” because they believe their community deserves a professional orchestra, performing live music, right there in London!

Two of London’s popular summer music festivals, Sunfest and Home County Folk, both held in London’s Victoria Park, included
#WePlayOn performances. (These are new opportunities for the musicians who, as Orchestra London, never had a summer season). The Sunfest website highlighted the commitment of the #WePlayOn musicians to “providing the people of London, Ontario, with music for all tastes, performed at the highest artistic level.” Their first concert of the 2015-2016 season was Beethoven’s 9th Symphony, with well-known conductor Bramwell Tovey, followed by a Messiah performance in December, and a collaborative Christmas concert with local Amabile boys’ and mens’ choirs. With the help of a grant from the City of London, the musicians were able to continue playing into the spring with five more concerts. These concerts featured eclectic programs with music ranging from the classic (Handel, and Haydn) to the popular (Music for Heart and Breath by Arcade Fire composer Richard Reed Parry).

#WePlayOn musicians have applied for a number of grants to allow them to begin planning their 2016-2017 season and to hire staff to take care of basic administration tasks. They have received charitable status as an organization, which will help with soliciting donations, and they are continuing to recruit new board members. The remarkable enthusiasm, energy, and creativity of the musicians have made it possible for them to continue to have a profile within their community and work towards re-establishing a permanent presence. The next crucial undertaking will be rebranding the orchestra; they hope to move on from the WePlayOn name in fall 2016. They can still be found on Twitter with #WePlayOn, or on Facebook and the web by searching “Musicians of Orchestra London.”

These four orchestras, like others across Canada, are exploring the impact of many kinds of performances and activities—presenting free concerts for thousands of people at a time, including children’s activities to introduce the “little ones” to the magic of sound, collaborating with local choirs and with young aspiring musicians, presenting workshops on specific instruments and conducting, and having active and engaging profiles on social media sites. These innovations will develop wider and more appreciative audiences and help to ensure continued viability within their communities.

On the Cover

Susan Draus: On the Road with Beautiful—The Carole King Musical

November 4, 2015 IM

Susan Draus: On the Road with Beautiful—The Carole King Musical — As music director for the touring musical Beautiful: The Carole King Story, Susan Draus of Local 802 (New York City) feels a bit like her career has come full circle. Draus, who was playing music before she was old enough to read, always knew it would be a big part of her life.

Growing up in Calumet City, Illinois, where students began learning their instruments in kindergarten, Draus thought she would one day be a conductor. The clarinetist seemed well on her path when she attended Interlochen on a full scholarship in 1971. However, she abruptly dropped the instrument that same year.

Carole King’s album Tapestry so inspired the young musician, that Draus decided she’d rather become a songwriter. After high school, she launched her own band, Wildwood, before moving to Los Angeles to study music. “I started working in Disneyland with the all-girl band and had my own little band, Outskirts. I wasn’t going down the musical [theater] path at all,” she explains.

Instead, her path slowly merged into musical theater almost by accident. “A friend asked if I would music direct this little show at the Melrose Theater called Ten Percent Revue. It was a tiny little stage and a five-person cast, plus me,” she says of the show in which she also played, sang, and danced. To their surprise, Ten Percent Revue won several Drama-Logue awards, including Best Music Director and Best Ensemble.

After completing keyboard and film scoring programs at the Dick Grove School of Music, Draus moved to Denver, Colorado, in 1991 to become Artist in Residence at Smoky Hill High School. While the teaching was great, Denver didn’t offer many choices as far as bands to play in, so she sought projects at local theaters. Eventually, she became music director for the Arvada Center for the Arts and Humanities where her passion for musical theater grew.

“Arvada was definitely my training ground for musical theater,” she says. “We did classics like Gypsy, Singing in the Rain, and West Side Story, but we also did Violet and Blood Brothers. It was great for me to learn how to conduct and play at the same time. I loved it.”

“My first big national tour was Mamma Mia,” says Draus. “I started out on keyboard 4 and worked my way up to music director/keyboard 1.” Following Mamma Mia, Draus did Good Vibrations on Broadway, but decided she liked touring better. She’s traveled with Billy Elliot, Sister Act, and Book of Mormon.

But Beautiful is special. “It really has come full circle for me, every single aspect,” says Draus. Draus never dreamed she would one day combine her admiration for the songs of Carole King with her passion for musical theater.

Draus’s favorite Carole King song, and the one that made her want to be a songwriter, is “It’s Too Late.” However, her favorite song to perform in the show is “Will You Still Love Me Tomorrow” because of “how it’s placed in the show, and the emotion around it.”

Beautiful travels with three musicians, aside from Draus, who is also conductor/keyboardist. It picks up eight local musicians at each stop. And though she would prefer to travel with as many permanent musicians as possible, she says Beautiful lends itself well to this arrangement. “This show is laid out so it kind of plays off itself. Not every show is this straight ahead with its songs,” she explains.

Among the perks of the job of a touring music director is the travel itself and the nationwide venues she gets to play at. “I’ve gotten to see this country and cities I would never have gone to before this. I love that,” says Draus. “Right now, for crying out loud, I’m conducting in the Kennedy Center. We are going to play the Pantages Theatre in L.A. That’s pretty cool!”

Among the challenges of the job is working eight shows a week, plus rehearsals. “Our thing is, every time you step up there you are trying for a perfect show,” she says. “I don’t think people realize how many rehearsals there are, especially for the keyboardist.” Aside from the doubles on Saturday and Sunday, there is a rehearsal and sound check on Tuesday, plus rehearsals Wednesday through Friday.

And, on Tuesdays in a new city, Draus starts at square one with a fresh group of local musicians. “After a while, I am tired of my own voice and saying the same things,” she says. “How many ways can you say crescendo?”

But, there’s also an upside to moving to a new city. “No matter who you are—on stage or down in the pit—if you are doing eight shows a week it gets to be this routine, and you can check out pretty easily. What keeps it fresh is that—bam!—we are in a new environment. It sounds different, looks different, new people in the pit. You get this new boost of energy, which is pretty cool. I can’t tell you how many times people come up and tell me, ‘Gosh, the tour sounds so fantastic!’ I think we keep it fresh because every two weeks you are in a new environment.”

Draus says it can be difficult not having other musical diversions on the road. “When you are in New York you can step out and do other gigs. When you are out here, after a while, you start wondering if you could even read a chord chart or play another piece of music.” For this reason, Draus says the traveling musicians seek other projects to work on. Draus also has her own company, Tantrum Productions, which provides arrangements for schools, choirs, and corporate events, and original works across the country.

A long-time AFM member, Draus says she always sticks with union gigs. “They are always higher paying and better working conditions.” Through the union, she is also able to network with musicians in the field to find new work and recommend others for jobs.

She has advice for other union musicians interested in musical theater work. “Work on sight reading and your ability to play all styles,” Draus says. “Network with musicians. If you want to be a pit musician, go right up to the MD and just say, ‘I’m a student and I’m studying this, and I would really love to do what you do, can I sit in the pit?’ That’s invaluable.”

Even with all the challenges of life on the road, Draus realizes that she is lucky to be performing in a job she loves. “I’ve only had four regular ‘day’ jobs in my life and they probably total a year altogether. I’ve been able to make my living as a musician and that’s pretty cool. I’ve been very lucky. The last 10 years have been really great, going from one show to the next. I’ve met such lovely people—great contractors, general managers, music supervisors, and everybody involved.”

Exploring Life in the Pit

The job of pit musicians is unique in many ways. Eric J. Stockton (guitar), Nick Williams (keyboard/associate conductor), and Shannon Ford (percussionist) of Local 802 (New York City) are touring with Beautiful: The Carole King Story.

Eric J. Stockton

Eric Stockton’s first theater experience was subbing for a dinner theater production of Big River in Phoenix, Arizona. He relocated to New York City in 2011, where he subbed for Big Apple Circus, and then the Broadway revival of Godspell. Eventually he was offered a chair on the national tour of Flashdance, then the Broadway show Soul Doctor and Rocky at the Winter Garden Theater. When Rocky closed, he asked a friend how to keep the party going. He said, “Tell the contractors you’ll tour.” Stockton worked on Kinky Boots’ first national tour before touring with Beautiful.

Q. What attracts you to this work? It’s show business, so it’s a fun scene. You get to work with musicians of the highest caliber in the pits in New York City. Plus, there’s a union contract, so there are benefits and rules for time off, etc. On the road it becomes a little harder because you can’t sub out as easily, but still, the touring bands, and many of the local musicians, are excellent at their craft and it’s fun to belong to a group of traveling gypsies.

Q. How do you keep your playing fresh and energetic when performing the same tunes night after night? The show keeps evolving in ever so subtle ways. On the Beautiful tour the songs are so great that playing them doesn’t ever get stale. I don’t necessarily play the same thing all the time. On other shows that’s more important. I’m not necessarily improvising, but as a rhythm section player, there’s room to change it up.

Q. How has AFM membership helped you? I get health insurance, if I work enough union contracts. The pension will help me in retirement. I purchase affordable instrument insurance through the union. Beyond that, it’s a network of players who, like myself, wish to make a living playing my instrument.

Q. What tips do you have for young musicians interested in working in a musical theater pit? Try to find what inspires you musically and work on that. Broadway is a good gig, but I think it should only be a part of your career portfolio. My heroes are Bob Dylan, Eddie Van Halen, Frank Zappa, and Miles Davis—I don’t think they ever played in a pit. Maybe Zappa did, once.

Q. What aspect of playing for musical theater might surprise other musicians? There is a ton of work involved in learning to play a book the way it should be played, whether subbing or on your own chair. This should not be taken lightly.

Q. Do you have any side projects? While on the road, a lot of my side projects fall by the wayside. In October I went to New York City to record with a songwriter friend. Also, my partner in crime, Dillon Kondor [of Local 802], has a new record coming out that I played on. I hope to play more live gigs with his band, Kondor. There’s a recording of my tunes called Roots on iTunes and at ericstockton.net.

Q. What gear would you never leave home without? Fingernail clippers for sure, and I just bought a very sweet Fender Custom Shop Nocaster that I am loving dearly on the road with Beautiful!

Nick Williams

Nick Williams has played the piano for musical theater for 27 years. He studied acting in college, but started arranging and music directing on the side. Soon after graduation he realized music was his passion. He took on as many projects as possible, working his way up to play and conduct off-Broadway, as well as for nine national tours.

Q. What attracts you to this work? Musical theater can encompass such a broad range of musical styles. We still have the traditional Broadway sound, but people are finding fantastic new ways to tell stories through all kinds of styles. Touring is such a unique experience—taking a show across the country and seeing different audiences enjoying it.

Q. How do you keep your playing fresh and energetic when performing the same tunes night after night? That’s never been an obstacle, although maybe I’ve been lucky to work on shows with music I love. There are always things to work on and discover in the scores. Beautiful has such satisfying, groovy music and profound lyrics—both have huge cultural resonance. The arrangements make the show a blast to play, so it’s not hard to enjoy this music every night. Not to mention, the rest of the traveling gang (Sue, Shannon, and Eric) are great fun and terrific musicians.

Q. How has AFM membership helped you? Having a union that protects the musicians’ best interests is essential to doing what we do, especially when you throw in the variable of traveling. The AFM agreements, and knowing they’re there for us, provide the security and support to be able to do our jobs even better.

Q. What tips would you have for young musicians interested in working in a musical theater pit? Get yourself out there. Do festivals, do readings, play for cabarets, see shows, and meet people. Be familiar with many styles, be open to learning from others, stay up on the technology of your instrument, and above all: be kind, proactive, and responsible.

Q. What aspect of playing for musical theater might surprise other musicians? It surprises even me how many patrons come down to the pit to tell us how much they loved the orchestra. It’s easy to forget that there is almost always a musician in the audience, professional or not, who plays your instrument, hears exactly what you’re playing, and appreciates it.

Q. Do you have any side projects? Lately, my focus has been on Beautiful, I do transcriptions, audition/vocal coaching, etc., while on the road. You can find information about my recent undertakings at: www.katonkeyz.com. I’m always looking for fun side projects.

Q. What gear would you never leave home without? I travel with an Axiom 49 key controller with an interface, along with lots of sample libraries. My road MacBook Pros are loaded with Ableton, Logic, Mainstage, and other fun audio stuff. I’ve also got a Bluebird cardioid condenser mic in my trunk for recording.

Shannon Ford

Shannon Ford moved to New York City in 1992 and began subbing for Broadway and off-Broadway shows. His first show was The Who’s Tommy, which he describes as “one of the scariest experiences of my life.” Ford continued to network within the community, taking advantage of every workshop, he could find.

Q. What attracts you to this work? I like the discipline and high standards of the people in this community. Playing shows has improved my focus and consistency as a musician. Pension and health insurance aren’t bad things to have, either!

Q. How do you keep your playing fresh and energetic when performing the same tunes night after night? I don’t find it difficult playing the same songs nightly. Sometimes it’s a challenge to stay focused, but I try to remember what it feels like to be the guy that just played the biggest clam of the night. It’s about that and being true to your work ethic in the first place.

Q. How has AFM membership helped you? The union has established guidelines that allow me to earn and protect a living wage as a musician. Thanks, you guys!

Q. What tips would you have for young musicians interested in working in a musical theater pit? As a rhythm section player, I encourage young musicians to spend time in a real band. There is a social dynamic and style of performance that I believe you can only get from that experience, and it is useful in a pit. Learn as many styles as you can, and make peace with the give and take required to work effectively with a conductor. Drummers, learn to make up a part while sight-reading a 26-page piano/vocal score. (Bring scotch tape and some white-out.) You’ll thank me later! Also, get familiar with how a musical theater company is run. It’s taken me forever to figure out who does what in which department!

Q. What aspect of playing for musical theater might surprise other musicians? I tend to get hired by good relationships with musical directors and composers, as well as by contractors. Establish them and maintain them. They are a bigger part of the equation than many realize.

Q. Do you have any side projects? Since I’m touring, my days are generally freer than they have been in a while, so I’m practicing more and improving my production and composition skills.

Q. What are a few pieces of gear that you would never leave home without? My Nespresso espresso machine! Can I get
an endorsement?

The Local Connection … Life in the Pit

The full-time traveling musicians are not the only AFM members who enjoy playing touring theatre productions, as most shows hire many of the musicians they need locally.

While repetition means traveling players can practically play their parts from memory, locally-hired musicians experience an entirely different challenge: perfectly executing two to three hours of complex, stylistically diverse, and rhythmically tricky theatre scores with very limited rehearsal time. In a field where you really are only as good as your last performance, theatre musicians represent the cream of their local crop.

For the core traveling musicians, this means a different group of colleagues every booking—for some shows, this means a different ensemble every week. Local and traveling players by necessity have to be good colleagues, and learn to harmonize quickly, both musically and professionally.

Nancy Whelan (keyboard) of Local 500 (Raleigh, NC) joined the show during its stop in Charlotte, North Carolina.

Whelan says she caught the “theater bug” at Cary High School in 1978 as pianist for Fiddler on the Roof. Since then, she’s been musical director/pianist/keyboardist for more than 85 productions. For the past 10 seasons, she’s been the associate musical director and orchestra contractor at North Carolina Theatre in Raleigh.

Q. What attracts you to this work? It’s great being able to live at home and be a full-time freelancer. I appreciate both the stability of living in one place, as well as the excitement of playing a variety of musical genres.

Q. How much time are you generally given to learn the book? When playing local keys for a touring show, we get the books anywhere from one to three weeks ahead. Generally, we only get one four-hour rehearsal with the touring musicians (the day of show), have an hour sound check, then we open that night.

Q. Is it difficult to build rapport with musicians you play with for only one or two weeks? No, especially when we get touring folks like Sue, Nick, Shannon, and Eric. They were all so incredibly positive, helpful, and relaxed—an absolute pleasure to collaborate with.

Q. How has AFM membership helped you? Although North Carolina is a “right-to-work” state, I feel it is important (and I am proud to be) a member of Local 500.

Q. What tips do you have for young musicians interested in working in musical theater? Get all the experience you can in your school and local community theatre, and volunteer at a professional theatre, if there is one nearby. Pianists, in addition to regular practice, hone those sight-reading skills. For reeds players, doubling makes you even more of a hot commodity. Make as many connections as you can. Often, knowing the right person or being in the right place at the right time is how you’ll get that big break.

Q. What is one aspect of playing for musical theater that might surprise other musicians? It takes a different set of skills to play theatre versus straight orchestral playing. People who aren’t in theatre may also be surprised at the often incredibly short amount of rehearsal time we have before opening a show.

Q. What other projects are you working on? I play for NC Theater, local keys for tours, ballet (Carolina Ballet), choral accompanying, and am a collaborative pianist for instrumental recitals. The day after Beautiful closed, we began rehearsals for Into the Woods at North Carolina Theatre, which opened in October. I will be playing the Holiday Pops run-outs with the North Carolina Symphony.

Recent News

Air Canada is the Official Airline to Nine Canadian Symphony Orchestras

October 2, 2015 IM

Air Canada today announced it has added Symphony Nova Scotia and the Calgary Philharmonic Orchestra to its roster of Canadian symphony orchestras it supports from coast to coast. The airline is offering special policies to ease its customer travel experience.

“We are delighted to announce our partnership with Symphony Nova Scotia and the Calgary Philharmonic Orchestra, making Air Canada the Official Airline of nine of the country’s leading symphony orchestras coast to coast,” says Craig Landry, Air Canada’s vice president of marketing. “As a proud Canadian brand, we believe in supporting these pre-eminent arts organizations to help enrich and engage audiences across this country.”

In addition to Symphony Nova Scotia and the Calgary Philharmonic Orchestra, Air Canada is official airline to: Orchestre Symphonique de Montreal, Toronto Symphony Orchestra, National Arts Centre Orchestra, Winnipeg Symphony Orchestra, Edmonton Symphony Orchestra, Vancouver Symphony Orchestra, as well as the National Youth Orchestra of Canada.

“We are also pleased to introduce industry-leading enhancements for all our customers travelling with carry-on instruments, including pre-boarding benefits and a generous discount when purchasing an additional seat for their instrument,” concludes Landry. Customers may purchase a seat at a 50% discount off any published fare, including the lowest Tango fares, to accommodate a musical instrument.

“Meanwhile, the CFM [Canadian Federation of Musicians] is committed to continued lobbying of the government of Canada to harmonize with the US regulated FAA carry-on act. We have met and lobbied each and every stakeholder, including all National Airline Councils, Minister of Transport office, Canadian Transport Agency, and The Canadian Transport Review,” says Allistair Elliott, AFM International Representative, Canada. “All stakeholders are very aware of our position and the need for a unified policy and we are ready to continue all our efforts after the federal election.”

Recent News

Louisiana Philharmonic Orchestra Returns Home

October 1, 2015 IM

In September, Louisiana Philharmonic Orchestra performed in the Orpheum theater for the first time since Hurricane Katrina flooded its lower levels five years ago. The nearly century-old Beaux Arts theater, located in New Orleans’ Central Business District, has been restored and renovated. It is one of the few remaining vertical hall designs left in the US and has over he years hosted vaudeville acts, films, and countless orchestra performances. Its acoustics impeccable acoustics are said to rival that of Carnegie Hall.

The restoration brought back the precise 1921 color scheme; the terra cotta ceiling and ornate plasterwork were restored by hand. Modern improvements to the theater include a state-of-the-art audio and lighting system; an adjustable floor plan with removable seating; remodeled green rooms and dressing rooms; six permanent bars; additional restrooms; and two new VIP areas.

Recent News

Supporters of Hartford Symphony Orchestra Rally at Connecticut State Capitol Building

September 14, 2015 IM

On September 8, Hartford musicians, Local 400 President Joseph Messina and Secretary Candace Lammers, and their supporters gathered outside the Connecticut State Capitol building to rally in support of Hartford Symphony Orchestra, which is fighting for a fair contract. Their last contract expired in 2013, and management has asked them to concede to fewer services and 40% pay cuts.

Among those who came to the Connecticut Capitol to show their support were AFM President Ray Hair, Secretary-Treasurer Sam Folio, and Symphonic Services Division Director Jay Blumenthal; ROPA Treasurer Donna Loomis; ICSOM Chair Bruce Ridge; Connecticut AFL-CIO Executive Secretary Treasurer Lori Pelletier; Connecticut AFL-CIO President and Executive Director AFSCME Council 4 Sal Luciano; Connecticut AFL-CIO Trustee Mark Espinosa; Connecticut AFL-CIO President Emeritus and longtime leader John Olsen; representatives of Danbury and Hartford Central Labor Councils; State Representative Andy Fleischmann who is a longtime friend of the labor movement, as well as arts in the schools; Connecticut Education Association representative and former House speaker Chris Donovan; workers from IATSE, AFSCME, United Food and Commercial Workers, AFT Connecticut, and FCIU; plus retirees and other concerned citizens.

Ray Hair gave a rousing speech at the rally where he called out David Fay, president and chief executive officer of the Hartford Symphony Orchestra for trying to cut the musicians’ already meager $23,000 salaries, and in effect, destroy the orchestra.

https://youtu.be/8lDx42_AHVI

“Nobody can live on $23,000 a year,” explained Hair. “That’s why they schedule rehearsals at night, during the week, to allow symphony musicians to supplement their jobs with daytime teaching and other things. Management wants to cut the workload down to about 115 [from 185] services annually for about $15,000 a season—a reduction of 38%. And what’s worse, that 38% pay cut is in the context of having daytime services. That forces musicians who make ends meet with multiple employers to choose between one job or the other. It’s a no win situation.”

All this is despite perfect concerts, recordings, and sold out shows, he continued. “The spirits that we raised here in the community and the money that we made for the businesses here are not enough for David Fay anymore.” Hair went on to detail more figures: Fay earned $400,000 last year; The Bushnell, Hartford’s performance venue, has assets of $43 million and posted profits last year; and the symphony has assets of nearly $10 million.

“I think it’s time for David Fay to face the music in Hartford,” concluded Hair. “The concessions that David Fay is asking this orchestra to concede are completely and totally unjustified. For the employer/employee relationship to function there has to be a fair bargain. If we don’t put a stop to this union busting attitude, not only here in Hartford, but everywhere else, nobody’s ever going to do it. It threatens to destroy what much of labor has achieved over the past century and it’s about to destroy the Hartford Symphony Orchestra.”

Following the rally, Hartford Symphony Orchestra musicians and their supporters marched to The Bushnell and back while carrying signs and chanting.

Recent News

Hartford Musicians to Rally at Connecticut State Capitol

September 8, 2015 IM

If you are in the Hartford, Connecticut, area and free on Wednesday, September 9, come out and show your support for the musicians of the Hartford Symphony Orchestra who are fighting for a fair contract. A rally is planned for noon on the north steps of the state capitol building. Speakers at the rally will include AFM International President Ray Hair and Connecticut AFL-CIO Executive Secretary Treasurer Lori Pelletier. Following the rally, musicians will march to Bushnell theater to engage in informational picketing.

Hartford Symphony musicians, members of Local 400 (Hartford, CT), have been fighting for a fair contract since June 2014. Their last contract expired in 2013, and as negotiations began, musicians agreed to a one-year extension. The symphony has proposed nearly 40% wage cuts for core musicians and more restrictive scheduling. These changes would adversely affect the ability of the part-time musicians to earn a living through other part-time jobs.

Additionally, the current proposal does not include any in-school educational performances. In past years, the musicians have done more than 200 interactive educational performances of small ensembles for students.

Music Business, Resources

The Role of Orchestra Committees

August 25, 2015 IM

by Christopher Durham, Chief Field Negotiator, AFM Symphonic Services Division

Employees who work under the terms of a collective bargaining agreement (CBA) are represented by a labor union that was authorized by the first employees who worked under the original agreement. When the union was established, the membership elected officers to handle the negotiation, enforcement, and administration of the agreement. Other union responsibilities and procedures are prescribed by either law or internal bylaw. The musicians who perform in orchestras elect orchestra committees and ancillary committees to assist the union in the negotiation, enforcement, and administration of the agreement.

This structure, while common in our union, is somewhat unique to the labor movement. Over time, symphonic bargaining units have assumed, through their various committees, a prominent role in the day-to-day governance of the agreements. A consequence of this expanded role should not be to disregard, ignore, or place the union in a subordinate role. The union, as the certified bargaining agent, has the legal responsibility to oversee the performance of the agreement as well as the liability for the action of its agents. It’s important to have an effective working relationship between a rank-and-file committee and the union in order to provide strength through communication and unity. The union is the pivot for members who may not work in the bargaining unit. It has important relationships in the greater community that, when properly networked, can make the difference by providing outside influence during times of hard bargaining.

Orchestra committees who seek the authority to administer the agreement must also acknowledge the responsibility and liability for decisions made under their watch. There is no hiding, denying, or abstaining from the same duty of fair representation that is expected from the union. Symphony orchestra committees are not your fathers’ civic or fraternal organizations, where you serve your time or complete your project and all is well. Representing the business interests of your colleagues and their families is a huge responsibility.

In all matters relating to the agreement, the committee must measure when and what to report to the membership. It is responsible for handling day-to-day business, including variances, and processing and investigating grievances in a timely and thorough manner. Committees must also bring experience to the bargaining table. They are responsible, by their recommendation, for directing the unit to accept or reject tentative agreements or final offers. Committee members don’t have the luxury to pick and choose the grievances that they want to handle nor to limit themselves to decisions that won’t cause confrontation. Conversely, the rank and file is well-advised to listen to the debate respectfully and to not attack a committee they have elected when it is serving in their best interest.

Music Business, Resources

Promoting Your Orchestra Using the New Integrated Media Agreement

August 13, 2015 IM

by Deborah Newmark, Director, Symphonic Electronic Media

To familiarize the 70-plus orchestras now working under the new Integrated Media Agreement (IMA), and for those that may work under the agreement in the future, it is helpful to examine some of the provisions that are designed to assist orchestras in promoting themselves and building audiences into the future. The IMA negotiations were a hard-fought battle against forces that believe that everything we do can be described as promotion, and should therefore be free. We succeeded in fending off this attack, but ultimately agreed to allow for some expansion of the promotional opportunities, while maintaining the upfront payments and revenue sharing that are key components of the majority of the agreement.

To be a signatory to the IMA, an orchestra must have a collective bargaining agreement with their local, a permanent roster, and an orchestra committee. The 70-plus eligible orchestras signed to the new IMA will be able to take advantage of these new, expanded provisions. There are 50-plus orchestras still working under the older IMA and they will continue to use the news and promotional provisions under the older agreement.

The promotional language in the new IMA (2015-2017) is divided into subsections: Use of Captured Material for Promotion; Promotion via Performance Streaming; Volunteer Promotional Recordings; and Gifts to Donors, Corporate Sponsors, and Subscribers.

Footage for these promotional pieces will be captured at live services (rehearsals or performances). The one exception to this form of capture is the volunteer promotional recording provision (discussed later in this article). There are time limits on the amount of capture and use for all promotional pieces.

From Capture to Finished Promo

The new provisions make it possible for orchestras to greatly expand their time and presence on social media. Typical uses would be the institution’s Facebook and YouTube pages, as well as other social media sites. It also covers use in cell phones or wireless transmission, streaming e-mails (perhaps to subscribers), podcasts, and use in kiosks or monitors in promotional locations. The material can also be used by institutional sponsors or partners for their websites, as long as the material isn’t being sold.

The agreement also provides an opportunity to stream a performance that was free to the public for 45 days in order to expand the institution’s community outreach. In addition, there is a new provision that (with orchestra approval) allows for one concert that was not free to the public to be streamed for the same 45-day period.

Volunteer Promotional Recordings

Lengthy discussions took place at the IMA negotiations over the issue of the employers’ and potentially the musicians’ interest in being able to participate in audio or audiovisual interviews and activities that, in addition to talking, include individual demonstrations on their instruments for promotion. An example of this type of promotion might be an employer’s interest in featuring a new player in the orchestra, or asking a player to demonstrate an excerpt of a piece from an upcoming concert.

Our negotiating committee felt that the only fair way to do this was to make it voluntary for the interested musicians, plus create rules that had to be followed to ensure consistent application of this new provision. Musicians can accept or decline the offer without affecting their status in the orchestra. These recorded interviews cannot be used in any kind of disciplinary procedure. The recording can be done at a time and place chosen by the volunteer musician. Recording time is limited to 45 minutes and the final product can be no longer than 15 minutes. It is available for two years from the date of posting. Musicians that participate have approval over the repertoire and have final say in whether or not the product gets used.

This new provision is designed to create some order in what was previously a chaotic approach to these types of projects. As it is a new provision, the AFM will be collecting information about these projects along the way to evaluate how well it is working.

Gifts to Donors, Corporate Sponsors, and Subscribers

In the past, the Federation has assisted individual orchestras that wanted to make a gift of a CD to their donors during major fundraising campaigns. Special agreements were created by the AFM and approved by the musicians of each institution. These agreements allowed for the creation of a CD to bring in needed dollars to the orchestra as part of a major fundraising drive. In an effort to codify an existing practice, the AFM agreed to include such provisions in the agreement.

There are now two donor paths that an orchestra must choose between to create one project per season. The first path allows for the creation of a CD, DVD, audio download, or AV download to be distributed to donors as a gift. There are minimum donation requirements and limits on the number of copies. This product can’t be sold or broadcast.

The second path an orchestra can choose is to create a donor portal on the orchestra’s website (or a third party website, if the orchestra doesn’t have the ability to host the portal on its own site). Once again, there are minimum levels that must be met by donors and limits on the amount of music that can be posted. Access to the portal must be password protected or otherwise restricted. The material will be available for on-demand streaming—no downloads. The orchestra committee has artistic and project approval for either path. There is also a new provision that allows the possibility of providing a CD or DVD gift to a major corporate sponsor or underwriter up to one time per year (with Federation approval).

The final promotional category covers the release of product for subscribers or multi-ticket buyers. This is an opportunity to provide them with a taste of what a donor gets as a possible enticement to move them up to the donor level. Up to two times per year, the employer can provide them with a free download (or another perk like a maximum two-week period of access to a donor portal) in connection with a targeted marketing program specifically approved by the Orchestra Committee. There are time limits for the product posted.

Time will tell if signatory institutions take advantage of these wide-ranging opportunities to promote themselves. The resulting reported activity will inform the discussion when the time comes to bargain the successor IMA.