So Much For Good Faith Bargaining

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The increasingly resourceful Emily E. Hogstad posted a fascinating exposé on 8/21/2013 which reveals the Minnesota Orchestra Association (MOA) purchased 13 domain names associated with typical audience support efforts during labor disputes. The smoking gun here is according to WHOIS records, all of the domain names were registered for a period of two years on the purchase dates of 5/24/12 and 5/25/12. Perhaps unsurprisingly, most folks won’t be shocked to learn …

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OCSM Keynote Address: Fourth Generation Theory

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On Thursday, August 16, 2013 I had the honor of delivering the keynote address for the 2013 Organization of Canadian Symphony Musicians (OCSM) Conference and I wanted to share the slides and a transcription of the speech with Adaptistration’s readers. But first, a few provisos for context: The Q&A session at the end was fascinating as a number of delegates presented some very thoughtful questions and observations. Those aren’t something that …

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It Looks Like Nashville Came To Its Senses

Statements from the Nashville Symphony Orchestra (NSO) board and musicians indicate that both sides have reached a tentative agreement pending musician ratification. Since the musicians are still officially off for the summer, it is likely that they may wait until next week before conducting a ratification vote and if they have provisions for remote voting, that may add a few additional days to the process. But reports from individuals close to …

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Nothing But No In Minnesota

An article by Graydon Royce in the 8/15/13 edition of the Star-Tribune reports that the Minnesota Orchestra Association’s (MOA) lockout remains unchanged after recent attempts by the mutually agreed upon mediator to broker a framework for re-engaging negotiations have failed to produce results. The most recent proposals involving ending the lockout for a temporary period of four months under a play and talk arrangement were rejected by the MOA board. The …

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2013 Compensation Reports: Concertmasters

Rounding out a year of increases in the 2010/11 season, the average concertmaster did see an uptick in compensation but at 0.87 percent, it pales in comparison to executives and music directors. Nonetheless, the season did witness an anomaly by way of a new all time high concertmaster annual compensation figure of $829,470; earned by Dallas Symphony concertmaster, Emanuel Borok, who retired after that season. The Data In order to provide …

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