I also would like to add that where I work, we have several orchestras within 50-100 miles, both full time and part time (ICSOM and ROPA). There is no way we could coordinate our calendars. Each orchestra serves a different purpose in each community. And it does cause problems sometimes as we do not have a large pool of freelance, highly qualified musicians here and the personnel managers are sometimes fighting for the same players for the same week and it causes a headache for everyone. Thankfully, when a substitute or extra commits, they do not bail unless it is an extreme circumstance. I believe that my colleagues in the other orchestras could say the same. Pain in the butt for those searching for players? Yes, but I appreciate that once a commitment is met is it honored.

It is an interesting time we live in, thank you for your blog and the opportunity to comment and share.

What I don’t think people understand is that generally musicians who have a contract with a part-time orchestra that pays a good per service rate (like WCO) and is a pleasant and satisfying work environment and good performances are very loyal to the orchestra and miss very rarely. Most are really dedicated because it is a good gig that they like. Most when given an option of missing 1 or 2 concert sets a year will not miss, and if they must they probably have a good reason. It’s amazing the patron didn’t understand that musicians don’t get paid when they aren’t there.

Subs should be paid the same. They should not be disrespected since they are not lower quality. Usually they have to audition as well. I think it is scandalous that they are paid half.

As far as who pays for housing. Often it is a homestay situation, where one stays with orchestra supporters. This can lead to really satisfying relationships between musicians and supporters. Sometimes orchestras do pay for a hotel room. I suspect many have group rate deals with the orchestra. Usually, you share with a roomate free of charge or around $20/night is deducted from you paycheck if you have a single.

Lastly, classically trained musicians have spent years obtaining the eduction for their craft. They start training well before the collegiate level, and have degrees. Many have graduate degrees and beyond. They spend many hours a week outside of rehearsal practicing to maintain their craft and prepare for rehearsal–in addition to commuting–so their hourly rate is actually quite a bit lower than the per service rate. They almost always have a much lower salary than equivilently- educated people in many fields. To provide certain accomodations to make a reasonable living from a number of jobs is not too much to ask, since you cannot maintain the same high level of skill on an instrument if you are not a full-time musician.

I only have a couple of questions. How many hours are actually required, if you make the 90%? Because I have had part-time jobs that I have worked 15 to 20 hours a week and still did not make $10,000 to $15,000 a year. I also have to travel to get to my full time job and they do not cover my travel. What are the musicians asking for?

An additional question for this blog:

The housing provided by other, how are those expenses paid and what kind of place do they stay?

I am sad about this issue, but I am having trouble sorting out the info because I don’t think all the facts are not out. And I also think that all the facts can’t be know unless you are sitting in on the conversations and getting both sides without bias.

For more on this topic, you all can check out doublebassblog.org/articles.

-from Arts Addict comments:

I am a subscriber to the WCO Masterworks series and, hence, immediately affected by the whole affair, if not in the way the musicians are affected. Like everybody, I regret that no agreement has been reached. I am also convinced that the WCO is made up of musicians of the highest standards. But I do NOT wholeheartedly support the claims of the musicians.

To begin with, I consider it outrageous that musicians from places as far as Pennsylvania play in the orchestra and still expect to be reimbursed for their traveling expenses. Such a thing may be feasible in a trade where money abounds (consulting firms, etc.), but in this context it is outrageous. If you cannot pay for your travel expenses, either move here or don’t join the orchestra. (If my job did not support me and looked for another one in addition to it, I would limit myself to southern Wisconsin and maybe Chicagoland.)

If the musicians want to attend only 70 per cent of rehearsals, lower their salaries accordingly. Then let them decide whether the extra effort is worth the money or not.

As to the payment of extras, I hold that no more money can be spent than is earned. If there is enough money to pay them more than 50 per cent, then do so. If there is no such money, let it be.

Classical music is not, and has never been, a democratic art. If it does not receive generous subsidies, whether from private donors, from corporations, from the government (whichever) or, in former jurisdictions, from the respective sovereign, it cannot thrive. But this does not justify uneconomic management.