2018 Orchestra Compensation Reports: Introduction

As is the case with every annual orchestra compensation report, the most important element to keep in mind is these figures encompass the 2015/16 season and not the current season. Although it isn’t unusual to expect that the most recent figures available would cover the previous season, that’s not how things work thanks to these reasons:

  1. Most professional orchestras maintain a fiscal year structure that begins and ends at some point from June to August; as a result, they tend to file their annual return several months later than the typical April 15 deadline.
  2. When you add that date against the length of time the IRS takes to process and release the returns (anywhere from six to nine months), you arrive at the reason why the report covers a season later than expected.

The result is the most recent season available with data for every potential orchestra in these reports is two seasons behind the current season.

Notable Events

Although we’ll be examining each of the items below in greater detail via their respective article, here are some highlights you can look forward to:

  • The average music director compensation enjoyed  the largest percent increase since the reports began in 2005.
  • The average executive compensation figures were skewed low this season due to several of the higher paying positions being filled for a partial season or occupied by interim CEO. Nonetheless, average compensation still increased.
  • The average concertmaster compensation finally reversed three consecutive seasons of negative growth.
  • The cumulative total expenditures for every orchestra in the reports came to just over $1.3 billion dollars.
  • For the second time in the report’s history, the highest paid music director was from an orchestra outside of the “Big Eight.”

More Of A Good Thing: Watching The Transparency Process Unfold Firsthand

Typically, whenever an organization’s 990 is missing compensation figures for one or more stakeholder and the reason isn’t something easily verified, I reach out to inquire. In most cases, the organization promptly responds, confirms the oversight, and provides the information along with any corresponding clarification.

Last year’s reports tried something new: each article was published with notes indicating any unreported figures and the respective organization was contacted for the missing information afterward.

The goal was to provide a more realistic sense of how often information is missing and confirm an organization’s commitment to the spirit of compensation transparency. It turned out to be an enormously effective approach so you expect more of the same this season.

Once each group is able to respond to requests for information and provide the missing figures, the respective articles will be updated accordingly.

Publication Schedule

  • Tuesday, 6/12/2017: Executives
  • Wednesday, 6/13/2017: Music Directors
  • Thursday, 6/14/2017: Concertmasters
  • Friday, 6/15/2017: Overview and multi-year averages

Curious About Figures From Previous Seasons?

Then visit the Orchestra Compensation Reports archive where you’ll find links to each article in the series dating back to 2005. Articles from this year’s installment will be added as they are published.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

Related Posts

Comments (powered by Facebook)

TWO WAYS TO SUBSCRIBE BY EMAIL:

Subscription Weekly
weekly summary subscription
Subscription Per Post
every new post subscription

The Music of Star Trek Podcast

Five classical music nerds geek out on the music of star trek.
Featuring arts marketer Ceci Dadisman, conductor and pianist Bill Eddins, Met Opera Orchestra Principal Timpanist Jason Haaheim, composer Rob Deemer, and yours truly, each episode will focus on a specific film, series, composer, or topic.
***Learn more about the project and rewards at Kickstarter.***

Back This Project at Kickstarter

Send this to a friend