San Antonio Symphony News and Archive

Esrpit de corps uniting symphony musicians




By Diane Windeler

from the San Antonio Express News 5/24/98


It is the little rift within the lute
That by and by will make the music mute,
And ever widening slowly silence all.
--Alfred, Lord Tennyson, "Merlin and Vivien"
When Tennyson's words were read during a Texas Public Radio forum last month addressing reasons to support the San Antonio Symphony, some misinterpreted the word "lute" as "loot."

Given the uncertain status of the orchestra's finances, not to mention its future, it was an ironic double entendre.

With the final concerts of the season Thursday and Saturday, biweekly paychecks for 77 musicians and 22 staff members have fallen two weeks behind. A mounting deficit and cash flow crunch led to a series of pay periods beginning late in February in which they received 20 percent of their salaries the first week, with the difference made up the next. By late April, restitution was coming two weeks later with no payment made toward that pay period's payroll.

Despite the obvious problems - as one musician put it, his mortage company will not accept a 20 percent payment - the quality of the orchestra's performances has not suffered. Virtually all who hear them agree that sound, balance and polish are better than ever.

In conversations with several longtime symphony musicians, it became clear that they share a spirit of cautious optimism. They are committed to the orchestra and, as vital threads in more than just the musical fabric of the community, are determined to help in any way possible.

Principal oboist Mark Ackerman, a 23-year veteran of the orchestra who said he has "seen turmoil throughout most of those years," expressed amazement at how well the musicians are playing in light of their financial concerns.

"They come to rehearsal prepared and ready to play. In 1987, when we were facing another shortfall and were told just before Christmas that our salaries would be slashed in half, the news had an audible impact on what we accomplished on the stage."

"I can't speculate about why that hasn't happened now, but if anything, there's been a redoubling of effort on what it means to play well as a group. Perhaps it is partly because we have an esprit de corps that we didn't have in those days of managers versus musicians."

That adversarial attitude desappeared in 1988, when a contract agreement provided for representation by musicians on the symphony board.

"It was a welcome and significant change," said pricipal percussionist Marilyn Rife, who has held posts on various committees since she joined the orchestra in 1977.

"The board welcomes musicians' input and involvement. Plus, we now have a music director who is very committed to the community. Chris Wilkins is one of our jewels, part of us; everyone admires and respects him. We have never had that kind of leadership before."

Expenses in the symphony's $7 million budget go far beyond wages, concert hall costs ($500,000 annually for the Majestic), guest artist fees and office overhead. There are music rental fees, pension fund payments, health and instrument insurance payments, printing and advertising costs and numerous peripherals.

"If the nation's economy is this good and we're still not gaining ground, there's some problem witht the foundation," Ackerman said.

He cites support of the San Antonio Museum of Art as an example of "people with resources stepping up to the plate and saying 'Yes, the city needs this.' With the orchestra achieving such a high artistic level and receiving national recognition for its programming, it strikes me as strange that that sort of support has not been found for the symphony."

As former editor of the newsletter of the International Conference of Symphony and Opera Musicians and past chairman of the orchestra committee, violinist Deborah Torch is keenly aware of the workings of U.S. orchestras.

One of the primary functions of a board of directors is fund-raising.

"Many on the board are trying hard," Torch said, "but it is essential to recruit strong members." She points out that board membership involves "not just working for a good cause. What's at stake with this board is people's livelihoods, responsibility for survival of organization."

Torch echoes comments heard routinely from other musicians: They want to take an active part by volunteering in the office or in community relations.

"We know that office is short-staffed," she says. "They ae overwhelmed; sometimes they find themselves assuming roles or tasks that should be the board's. So why not get us out there in different ways that will help generate interest and support - let people see us as human beings?"

Crisis mode is not unusual for orchestras, but each has its own situation. Some specutlate that potential contributors to San Antonio's view support as a Catch-22: They want to donate, but are reluctant to do so unless the budget is balanced.

Several years ago, in an attempt to balance the budget and reduce high interest payments, an independant task force recommended liquidating the symphony's $6 million endowment. That was done, but Torch said the move failed to spur increased contributions.

Rife agreed. "Liquidating the endowment broke the trust, and some donors are afraid it might happen again."

Because it is now being managed by the San Antonio Area Foundation, those fears are unfounded. The endowment, which stands at $1 million, is secured and "totally untouchable." An aggressive three-year capital and endowment campaign with a combined goal of $17 million is planned.

According to principal tubist and orchestra committee chairman Lee Hipp, the "rule of thumb" for most successful orchestras is to have an endowment that is three times the size of the operating budget. For San Antonio, that should be $21 million.

Early last week, Hipp said symphony officials expect salaries to be paid in full by the end of the month. He also reported that a cello vacancy was filled during recent auditions, and some excellent candidates soon will be auditioned for brass and wind positions.

That, of course, is the point: Musicians are committed to their art. "Music is like breathing, vital to our existence," said one.



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