Everyone predicted that the current labor and financial issues facing the Detroit Symphony Orchestra would translate into a long strike. However, it is still sad news as the DSO management recently cancelled more concerts as the latest round of talks ended in failure. And now the strike is eight weeks long. No end in sight.
The eyes of the entire American orchestra world are fixed on Detroit. One management consultant who specializes in orchestras claims, "They know that they may be next. Cleveland and Indianapolis are both in trouble". In fact Louisville is near to bankruptcy now.
The problems in Detroit are not unique to Detroit, although they are magnified. The severe economic problems in Michigan and especially in Detroit are causing a lack of audiences and a lack of funds. They are now facing a $9 million budget shortfall.
However, when the laid off auto worker is pounding the pavement looking for work, I am sure he has little sympathy for classical musicians who make about $104,000 per year right out of school. DSO's management is asking them to take a pay cut of almost 30% plus some major changes in work rules.
While some observers are concerned that the highly praised Detroit Symphony will lose its status as America's 10th best orchestra, others have darker thoughts. Will the DSO survive? The motor city's population has drastically dropped and the once mighty auto industry is only now starting to come to life again.
Can Detroit, a shadow of its former self, support an orchestra at the level of the DSO? Do they even want to?
As the world conjures the future of this great orchestra, I think that we must all look very seriously at the future of ALL great orchestras. And the US has many.
Over the years drastic changes have occured in music performance - Ipods, sophisticated amplification, hi-tech lighting, video screens, less formality,etc. But, for some reason orchestras find it very difficult to change. The orchestra players of the 18th century would find little difference between them and an orchestra of 2010.
They both sit on a stage with no amplification, stagnant lighting, rigid audience rules and they even wear the same clothing - black tails. And the worst thing is, the music programs are the same. Most orchestras play the music their audiences want- rarely a work written after 1920.
Can this stodgy, unchanging organization stay alive in today's world?
Fewer kids are taught acoustic music in schools and are so busy multitasking with computers, cell phones and ipods, that the chore of listening to a 45 minutes piece of music is a real challenge.
America has never fully accepted having public money pay for the arts (although they have no problem with governments building sports stadiums). And now, more then ever, the populace is fighting against elitism which symphony orchestras and art museums are.
However, all great cities have great arts institutions. When those metropolitan areas lack the funding to continue those institutions, will they still be great cities? That question is being tested right now.
The Michigan State legislature is currently considering some tax programs to rescue not only the DSO but also the venerable Detroit Institute of the Arts. Although this is a good use of public money, I still question the long-standing model of a major symphony orchestra.
Not all orchestras are the same. A regional orchestra such as the Lansing Symphony, has a far different operating structure. All the musicians have other full time jobs and are paid on a fee-for-service basis. The conductor and a few staff members are full time employees but the musicians are not.
The players rehearse for one week prior to each concert. Now, the budget of the Lansing Symphony is far less than the DSO (app. $900,000 vs. $29 million)but the sound and quality of the two orchestras are not even comparable. But maybe the DSO is a Cadillac orchestra for a family whose budget should have a Chevy instead.
If orchestras begin changing the way they approach their audiences, public support may change; such as: Going out into the neighborhoods, playing in shopping areas, using better production techniques, different clothes, working with school children, use enhanced video screens, have more creative music programming, speak to and engage the audiences more, have the soloists within the ensemble stand up for their special moment (like a jazz band), etc.
What is the future for the American symphony orchestra? Frankly I don't know. I am a traditionalist and love the huge and glorious sound of a great symphonic ensemble. But, I have a degree in music, still perform my French horn and few people are like me.
If the Detroit Symphony is going to survive, they should "re-engineer the corporation" - be creative and re-think the entire mission.
Comments on the arts scene in and around Lansing, Michigan and beyond
