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In Reply to: RE: Vanska and the Minnesotans finally complete their Sibelius cycle posted by learsfool on August 14, 2016 at 20:53:24
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And ultimately forcing the players to accept a reduction in the size of the orchestra and a 15 percent cut in pay and benefits. I'm sure the players knew from the start of negotiations they would have to accept cuts, and the question was, how deep.
Some of their top players got jobs elsewhere during the lockout and did not return. It is remarkable to me that the orchestra survived such a long lockout at all. Others have not. But from management's point of view, you can't draw down your endowment until you're broke and then try to save the situation.
But I used the word "insane" because, as your say: "It is remarkable. . . that the orchestra survived such a long lockout at all. Others have not." The fact that they would risk the very continuation/existence of the orchestra is what makes their behavior insane to me, although I do appreciate your point about not having to draw down the endowment.
My main flute teacher was for many years the (last) principal flutist for the Goldman Band, a famous concert band founded in 1918 that premiered such important works as Percy Grainger's Lincolnshire Posy and Darius Milhaud's Suite francaise.
In 2005, negotiations broke down after the board sought to reduce the number of players and significantly cut compensation. [Ed.: While I see on Wikipedia that management claimed they would not reduce the number of tenured players, they did intend to eliminate a guaranteed season and compensation and remove all players from the board, essentially turning everyone into freelancers.] The players eventually came up with counteroffers, but rather than continue negotiations, the board simply decided to cease operations, and the band was no more.
Edits: 08/15/16
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