By Howard Pousner
hpousner@ajc.com
Atlanta Symphony Orchestra musicians have offered to cut their compensation by 11 percent to help balance the organization’s annual budget, but there is a catch: They want the ASO leadership and staff to take an equal cut.
Facing a deadline of midnight Aug. 25 to reach agreement with ASO management on a new collective bargaining agreement, the Atlanta Symphony Orchestra Players Committee (ASOPA) met with management representatives on Wednesday. In a statement released Wednesday evening, the players said they submitted a broad-ranging proposal that would be sufficient to cover the orchestra’s projected shortfalls for the 2012-13 and 2013-14 seasons.
“We have offered to reduce the size of the orchestra, reduce the individual compensation of musicians, reduce the number of work weeks and share health care costs with management,” players association president and cellist Daniel Laufer said in the statement. But the offer hinged on management sharing the reduction equally.
On Thursday, ASO president Stanley Romanstein said not so fast, reiterating that management has already made numerous compensation cuts.
Musician salaries have gone up 23 percent since 2006, a period in which staff salaries declined 1.7 percent, ASO management had previously said.
In its statement, the players association disputed that, asserting that total staff compensation had increased by almost 50 percent since 2006, while total musician compensation had increased by 16 percent.
Romanstein called the musicians figures “curious because our musicians have had two representatives on the ASO finance committee for 15 years. They have seen all of the numbers … so this is not new information to them.
“So to say the staff should participate and the administration should participate is a fine statement,” he continued. “But you have to complete that and say, ‘And we know that they already have.’”
The ASO has operated with annual deficits ranging $5 million to $6 million in recent years, with its accumulated debt mushrooming as a result. Management projects a $20 million accumulated debt by the end of fiscal 2013 and has said it is rapidly reaching its borrowing limit.
The beginning base salary for an ASO musician is $88,400. Typically in the classical music industry, accompanying compensation packages would include 100 percent health coverage, instrument insurance, pension contributions and extended paid vacation.
“As of today we have put close to $3 million of musician cost reductions on the table, which address every aspect of what we do: salary, orchestra size, number of paid weeks, and cost sharing of health insurance,” said Colin Williams, principal trombonist for the 93-member orchestra. “But we cannot be the only solution.”
CEO Romanstein said management was looking carefully at the players’ proposal. “But we simply can not ignore the enormous sacrfices that this staff has already made.”
The next bargaining session has not yet been set.
NOTE: The following is the original version of the story above that was posted Wednesday evening:
Atlanta Symphony musicians ask administration to share in salary cuts
By Howard Pousner
hpousner@ajc.com
Atlanta Symphony Orchestra musicians have offered to cut their compensation by 11 percent to help balance the organization’s annual budget, but there is a catch: They want the ASO staff to take an equal cut.
Facing a deadline of midnight Aug. 25 to reach agreement with ASO management on a new collective bargaining agreement, the Atlanta Symphony Orchestra Players Committee (ASOPA) met with management representatives on Wednesday. In a statement released Wednesday evening, the players said they submitted a broad-ranging proposal that would be sufficient to cover the orchestra’s projected shortfalls for the 2012-13 and 2013-14 seasons.
“We have offered to reduce the size of the orchestra, reduce the individual compensation of musicians, reduce the number of work weeks, and share health care costs with management,” players association president Daniel Laufer said in the statement. “Our comprehensive solution calls for the staff to share the reduction with us in the coming seasons to help stabilize the future of this great orchestra.”
The musicians requested that senior management sacrifice salary to “avoid placing undue burden on junior and part-time staffers. This would save almost $5 million over two years.”
The ASO has operated with annual deficits ranging $5 million to $6 million in recent years, with its accumulated debt mushrooming as a result. Management projects $20 million accumulated debt by the end of fiscal 2013 and has said it is rapidly reaching its borrowing limit.
The musicians’ previous offer was $1 million in concessions. Management, the musicians said, was seeking $3.1 million in cuts and threatened to lock them out.
Orchestra management denied making a lockout threat.
“We haven’t threatened anything,” ASO president Stanley Romanstein said on Tuesday. “Three scenarios could happen: a newly ratified contract, a musician strike, or an expired contract. It is our sincere desire to reach an agreement soon.”
The beginning base salary for an ASO musician is $88,400. Typically in the classical music industry, accompanying compensation packages would include 100 percent health coverage, instrument insurance, pension contributions and extended paid vacation.
Players association spokesperson Colin Williams suggested the way to a deal was to share the burden of cuts. “The significance of shared sacrifice cannot be overstated,” the principal trombonist for the 93-member orchestra said. “This proposal represents a shared contribution to balance the budget.”
As is frequently the case in thorny orchestral negotiations, the two sides offer up figures that do not match.
ASO management has said that musician salaries have gone up 23 percent since 2006, a period in which staff salaries declined 1.7 percent.
In its statement, the players association disputed that: “Since 2006, total staff compensation has increased by almost 50 percent, while total musician compensation has only increased by 16 percent, just keeping up with inflation,” Williams said.
The statement charged that staff compensation had grown from $4 million to $6 million since $2006, not counting nearly $1 million in salaries/benefits for staff at Verizon Wireless Amphitheatre,the ASO’s summer home since 2008.
“As of today we have put close to $3 million of musician cost reductions on the table, which address every aspect of what we do: salary, orchestra size, number of paid weeks, and cost sharing of health insurance,” Williams said. “But we cannot be the only solution when staff have not participated in cost reductions.”
On Tuesday, ASO president Romanstein aired some grievances of his own about the negotiations: “Management has been urging active negotiations since March 2, yet the musicians have not appeared to understand what is at stake, despite having two members on the [ASO board] finance committee for over a decade. That’s regrettable, but that’s our reality. …
“We understand what a difficult situation this presents for our musicians,” Romanstein continued. “It’s in everyone’s best interest to find resolution to our differences as quickly as possible and to turn our focus back to the music.”
The AJC will seek management’s response to the musicians’ offer on Thursday.
63 comments Add your comment
ASO MUSICIANS supporter
August 16th, 2012
9:07 pm
well said, Tom Bop
rumman
August 17th, 2012
2:27 am
agostinhomalvezi@gmail.com
Only Three Options In Atlanta? | Adaptistration
August 17th, 2012
3:00 am
[...] 8/15/2012 edition of the Atlanta Journal Constitution published an article by Howard Pousner that reports on the Atlanta Symphony Orchestra (ASO) labor negotiations. Of [...]
Atlanta Symphony Musicians: We’ll Take a Pay Cut if You Will | Classical 101 - WOSU Public Media
August 17th, 2012
6:02 am
[...] Read Atlanta Symphony Musicians Ask Administration to Share in Salary Cuts (Atlanta Journal Constitution) [...]
PJ
August 17th, 2012
8:32 am
Agree with Tom Bop. Spano is overpaid and is not the man to draw an audience. His programming is often bizarre and out of the mainstream. And while it is commendable that he works to promote lesser-known composers, he seems to be doing it to the detriment of ticket sales. Someone mentioned all the Grammy awards garnered by the orchestra. I dare say that the chorus is far more responsible for that string of success than the orchestra. Count how many non-vocal recordings of the standard repertoire are in that award total. Not many. The awards are primarily for choral works or works of some trendy composer du jour that make the elitists feel good about their vote. It also helped that they had Telarc making most of their winning recordings, as evidenced by the fact several of the awards were for engineering merits, not musical ones. As a musician who has attended many ASO concert over the past 20 or so years, I routinely find their performances pedestrian and dull. Are they played well? Yes. Is there great technical precision? Yes. Are there some world-class musicians in the orchestra? Definitely. Are the performances musically engaging and thrilling? Rarely – especially when Spano is on the podium. Most of the more enthralling performances I have heard have been led by guest conductors. Speaking of which, why doesn’t the ASO attract the big-name guest conductors? Most of those on their guest roster are journeymen or potential up and comers. Where is Haitink or Abbado or Maazel of von Dohnanyi or Eschenbach or Masur or Jarvi or Salonen? This is still not a bona fide big league orchestra or operation. The orchestra apparently believes its own hype, but apparently few others do. Hence the financial woes.
Russell D'Arensbourg
August 17th, 2012
10:29 am
I hate to hear that that they want to decrease the size of the orchestra.who is to say which instrument is not necessary? Why not decrease the size of the military? Do those sports teams really need all those extra players? It is shameful that a city the size of Atlanta can’t support it’s orchestra. Maybe a couple of pennies on every plane that goes through the airport…
Zebulon
August 17th, 2012
11:52 am
According to ASO management, musician’s compensation share is 28% percent of ASO’s budget. Assuming the best case scenario that 28% is just a share ASO regular musicians and subs you see working every concert night (and does not include Mr. Spano’s $500K comp and highly-paid guest soloists and conductors who are unlikely to participate in cuts), and that musicians are somehow equally culpable in the deficit, then musicians would have to cheap in 28% of $5M yearly deficit, which comes down to $1.4M a year, right? Musicians are very close to that in their offer! Still management won’t budge?
Now does anyone believe that musicians are actually responsible for deficit creation? Was it their decision to build Verizon stage, to renovate the lobby and take on extremely expensive productions that play 2-3 times? Musicians have no say in that at all. But again, despite not having to do anything with that, musicians take the public, verifiable cut alright, and all management does is putting out an unsubstantiated claim that suits have already paid their share?
Dear ASO management and WAC board, how is that I see billboards of High Museum everywhere across the city, as well as High ads on the New York Times web site, but no advertisement of the ASO? Your marketing of ASO is abysmal, but still judging the quality of suits managers wear, they are pulling 6 figures easily. How in the world would you make us believe you are even marginally competent if ASO ads are not even present in the Hartsfield International?
Mr. Spano, where are you in all this? Your legacy with ASO and Atlanta is exactly what? Do you want your decade-long tenure in Atlanta impact to be just like of a very highly-paid wedding band or you want to be remembered by Atlanta for something bigger than avoiding standing for anything?
Dear WAC board, you are probably right in counting that 99% of Atlantans won’t notice if something bad happens to ASO. But then your legacy will be turning Atlanta from the world-class city into a backwater where those who never even heard about ASO will still be worse off without it, because those who would care about classical music will choose some more vibrant place to live.
Jim4567
August 17th, 2012
4:04 pm
It’s not either sides fault. Really good people making a difference in lives of others. Blame it on Obama’s bum economy and hope for a change to get it restarted.
Diane Palmer
August 18th, 2012
4:55 pm
The ASO is a world-class symphonic orchestra. It is an invaluable asset to our city and region. Clearly, compensating the musicians is central to the outstanding quality of performances! This organization provides a cultural and economic boon to Atlanta and increases the quality of music and the arts all across the metro area and beyond. Please do what it takes to keep our orchestra strong.
End waste
August 19th, 2012
12:08 am
The truth is if you are good enough people will pay, Jackie Evancho is only 12 years old and she sings clascial music with full orchestras and every body gets payed without any government support. Why should these people expect it.
Glynn Finley
August 19th, 2012
6:25 am
http://www.atlsymphonymusicians.com/1/post/2012/08/atlanta-symphony-musicians-offer-to-perform-for-free-with-choral-groups.html
Atlanta patrons need to read this article in able to validate that the musicians of the Atlanta Symphony are the ones willing to compensate for the sub-standard performance of management of the Atlanta Symphony. Upper management seems to be unwilling to accept the responsibility of the mis-management that the musicians are willing to compensate for upper management’s positions of employment possible. If it were not for the musicians, the musical and cultural opportunities available for the patrons of Atlanta would not exist. These musicians have demonstrated their personal/professional commitment to the “Fine Arts” and commitment to the city of Atlanta by their training (from early childhood). The only personal/professional commitment management has contributed is their completion of a degree in business management which seems to be failing the musicians as well as the city of Atlanta, its patrons and the benefactors it is responsible to serve. Musicians are sensitive and appreciative enough to contribute to the arts within any community they serve. In this case, it seems upper management is un-willing to make the equivalent/personal/financial contractual sacrifices while demonizing the musicians who continually contribute freely beyond contractual requirements for the advancement of “Fine Arts” and cultural opportunities essential for the City of Atlanta.
Andrew Bate
August 21st, 2012
3:43 pm
The Atlanta Symphony’s members are as accomplished as the world’s finest athletes. They are just as talented and contribute (at least) equally to the community as the Braves and Falcons. These skilled artists and athletes help to create the vibrant culture that make Atlanta great (and arguably a better place to live and move a business than major cities in surrounding states).
Sure, not everyone likes to attend the symphony, a Braves or a Hawks game but by giving the world’s most talented a venue to contribute to our community benefits us all.
Dr. Cynthia Morrow-Hattal
August 21st, 2012
9:24 pm
Reading these comments makes me glad that I live in Seattle. We love the arts here and support them rigorously, but we are the most literate city in America as well, so it makes sense. I’ve flown down to hear the Atlanta Symphony many times, especially when Cecylia Arzewski was concertmaster. It’s a first rate orchestra. The average ASO musician has far more training than your average neurosurgeon, so to compare their salary with that of a beginning school teacher is absurd. They are musical Olympians. To the wise guy who suggested that they make a high salary for “blowing a horn”, may I suggest that he try it. Classical music is a profession, an art, and is one of the greatest accomplishments of civilized man, aural mathematics and an emotional representation of our evolution. Oh, wait, do you people even believe in evolution?.