Hubbub

I joined the Federal Way Symphony as principal clarinetist at the start of the 2001-02 season. My six year tenure with this small budget, medium sized (50+) professional orchestra has been a mixed bag and has illuminated some of the best and worst aspects of orchestral playing.

The most attractive part of playing with FWS was the opportunity to make music with a group of excellent musicians who played and worked well together. Players were chosen by the (now former) personnel manager who carefully balanced musical and interpersonal abilities to build a solid, collegial ensemble. Within a few years of my joining, the woodwind section in particular stabilized and gelled and had developed into a reliable and smooth functioning section.

Another strength of the FWS was its Board’s ability to raise money. As with all orchestras, ticket sales account for a relatively small portion of the total amount needed. The FWS Board has done an admirable job of generating grants and donations needed to pay salaries, equipment rental, concert costs, and all the other expenses of operating the orchestra.

I also was impressed by the cadre of dedicated volunteers. Along with Board members, volunteers handled everything from stage set up and tear down to equipment management and tickets sales. The organization took care of the usual practical and business tasks so that musicians generally could focus on the music.

Despite these advantages, circumstances were very far from ideal. In short, orchestra musicians were treated by the music director, (new) personnel manager, and the Board with complete disdain—as replaceable commodities rather than critical parts of a cohesive whole.

This attitude was evident in several ways. There was no contract guaranteeing adherence to industry-standard definitions, policies, and procedures. Everything was arbitrary, from working conditions to terms of employment. Musicians were expected to commit to services for the season and honor those commitments without exception. However, management was not so obligated. On several occasions, when the Board purportedly ran short of funds, it cancelled the first rehearsal with only a few days notice in order to save the expense of paying musicians. Music not available in advance, no listing of musicians’ in the program, key musicians cycled in and out of the orchestra by whim of the music director, lack of grievance process… all were commonplace and inarguable in the absence of contractual standards.

The issue was further exacerbated by a Board that refused input from or communication with orchestra musicians. Not only was there no orchestra representation, the Board ignored or actively discouraged contact from musicians who wanted to give feedback. Instead the Board took a completely hands-off approach to the management and treatment of musicians and chose to work exclusively with the music director.

Topping off the situation was a music director whose podium demeanor to musicians was nothing short of callous and condescending. It is hardly unusual for musicians to complain about their conductor. However, in my 25 years of orchestral playing, I have never experienced elsewhere such chronically disrespectful and poor treatment.

With the start of the 2007-08 season, I no longer play with the Federal Way Symphony. Despite my wish and commitment to continue, I was replaced in the most extraordinary and unprofessional manner. See my upcoming post to find out how the situation went downhill and what led to nearly 15% of the orchestra walking off the job at the start of the season’s first rehearsal.