Maintaining the Symphonic Legacy

by Nathan Kahn, Negotiator, AFM Symphonic Services

A few years ago, musicians crossed an AFM picket line to replace striking Atlanta Ballet musicians. When this happens, there is the expected outcry of "how could these people do this; don't they know any better?" We then begin to ask ourselves what more can we do to educate would be scabs about unionism. There is an alarming level of misunderstanding and resentment of "the union," and ignorance about the progress of our profession, among conservatory students and entry-level professionals.

Mark McConnell, ROPA delegate from the Atlanta Ballet Orchestra observed the following:

"Several of the replacements told us that if we didn't want to work that they had no problem doing it for us. They quoted the management line about how greedy we were to turn down a 38% increase in wages, no matter that management was offering to increase salary just $4 a service. It was sad to see fellow musicians totally ignore what we were telling them. One wonders what could motivate someone to take someone else's job. Is it greed, ignorance, or have these people received poor advice? Unfortunately it's a combination of all these things."

Mr. McConnell's situation is not surprising considering the preparation students are getting. Ten years ago, I was playing a gig with some students from a major music school. We went out for a beer after rehearsal, and one student asked me the following question: "Suppose I get into the cello section of an orchestra and want to advance, what do I do?" I explained to him that if there is a vacancy at the front of the section, the orchestra may hold intra-orchestra auditions prior to holding national auditions. He responded that what he really wanted to know was how could get the Principal cellist's job, if he felt that he played better than the Principal.  I gave him the expected response ending with the statement: "Suppose you were a highly skilled tenured Principal Cellist in an orchestra for 20 years, and someone was hired for your section, and some believed that this person played better than you. Should you relinquish your tenured position to this person?" Without batting an eye, the student responded, "Well, sure. The best player always goes to the top regardless, right?"

Our culture teaches students to compete, and music students are certainly no exception. A high school music student must compete for chairs in the youth orchestra, the all-state orchestra, solo and ensemble contests, etc. Then off to music school where students compete for scholarships, solo and award competitions, summer festivals and outside musical employment. Then comes the musical Olympics - The Audition Trail.

After several years of me-against-the-world audition efforts, BINGO! the student lands his first orchestral job. First day on the job in the X Symphony Orchestra the Union Steward come over to the new member asking for money to join the Union, and recites a short speech on solidarity. After some 20 years of conditioning that musician to compete and compete, solidarity and unionism (i.e. working together for everyone's benefit instead of competing) are totally foreign languages.

How many conservatory students or entry level professionals are aware that:

• In 1947 the New York Philharmonic was paid $110 per week for 28 weeks, with no benefits.

• In 1970's the Tulsa Philharmonic, and other similar sized orchestras paid scale wages between $14.00 and $25.00 per service.

• Less than twenty years ago, symphonic musicians in many orchestras could be fired for any reason, at any time, etc.

Says retired New Jersey Symphony violinist Esther Schure Gilbert:

"My first experience with a professional orchestra was with the Southern Symphony in Columbia, South Carolina. It was 1938. The Juilliard placement bureau sent me to Steinway Hall to audition for the conductor, Hans Schweiger. He offered me the job—an eleven-week season, no allowance for train fare from New York to Columbia, and a salary of $18 per week. There were no benefits for health or instrument insurance. I declined the offer. He thought about it a while, then offered me $25 per week, pointing out that men who had families were accepting the $18 salary. I accepted—played eleven weeks of challenging works, made friends, played chamber music and went home after the eleven weeks with a net savings—after train fare, room and board—of ten dollars.

"In 1956 I became a member of the New Jersey Symphony. Rehearsals were $5. Concerts were $25. I was assistant concertmaster for 37 years—years of unbelievable changes—in committees, benefits, length of season and salaries. The New Jersey Symphony now pays over $41,000 per year, as well as benefits such as vacation and sick days, health insurance, and pension. The Nashville Symphony salary will rise from $30,000 a year in 2001 to $60,000 a year in 2011 thanks in part due to the solidarity of its musicians.

"I hope some of the bright, talented musicians of today are aware of the long, hard struggle it took to make these benefits happen. Many dedicated people gave freely of time, energy and intelligence, despite the risks to job and even career."

Symphony musicians have come a long way from those days, and it is up to the young players of today to maintain the standards set by their predecessors.