About a week ago a friend asked me why I hadn’t posted a blog on the Minnesota Orchestra lately. My response was that I was waiting until the lockout was over. I’m not sure which of us was more surprised: him, for what I said; or me, that he was surprised I said it. Unfortunately, it’s the truth – the lockout is not over.
I have been deeply perplexed these last couple of months as the association and the musicians hurtled towards ratifying a new contract, causing everyone to heave this tepid sigh of relief that it’s over! (it would be a huge sigh except that we’re Minnesotans, and the culture of passive/aggressive reigns supreme here). On the side of buses throughout the Twin Cities you now see adverts proclaiming that “The Music is Back in Orchestra Hall!” Everyone involved in this debacle has gone out of their way to make nice, say the right things to the press, and generally proclaim that “we are really focusing on rebuilding and working together with the other side and blah blah blah… .”
And yet no one seems ready to admit the obvious – the lockout is not over. First of all, what was the lockout about? We heard over and over from the association that “being fiscally responsible” was the most important issue. The Minnesota Orchestra could no longer sustain the (artificially inflated and somewhat dubious) deficits that were being (conveniently) run up year after (contract negotiation, but not request for funding from the state government) year.
On that same topic from the musicians there was the constant drumbeat of “top 10 salary.” Personally this has always driven me a little nuts, for the simple reason that a good salary in NYCity, or Cleveland, or Los Angeles, is very, very different from a good salary in Minneapolis. Comparing orchestras like this is like comparing apples to iguanas. Whatever, between the association and the musicians some kind of compromise was worked out to save face on both fronts, but I’m willing to bet that by this time next year, when the fiscal projections are still showing major deficits, this detente may – nay, will – start to fray around the edges.
But in the long run this is all irrelevant. For a lot of people this lockout was about money. For me this lockout was about governance, and it’s blatantly obvious that from that perspective there is no end in sight. That the board of the M.O. could blindly lead the organization down this path, without any recourse from musicians, patrons, politicians, or anyone else, is an abomination. That there was a contract signed that in no way addressed the governance issues raised by this lockout means that nothing has been learned from the past two years. This was the perfect opportunity to create a new organization, with a new structural model, shared financial governance, and direct accountability. Yet nothing has changed. What a lost opportunity.
Then today comes this report about Osmo. I admit that I laughed out loud when I read this. Essentially the board wants to ride on Osmo’s name without giving him any responsibility or say in the artistic future of the organization. If they’re trying to set up a meeting with him to discuss this idea I could save them the trouble and give you his answer right here. Or I could if I knew how to say “*&#$ YOU!” in Finnish. (Since the Finns are very much a part of the Scandahoooovian/Minnesotan passive/aggressive mentality here I would assume that his response would be a tad more politic, but it will essentially amount to the same thing.)
Note to orchestras everywhere: for better or worse, without a strong artistic voice you run the risk of being so bland that no one will pay attention. With a few extremely rare exceptions (Ernest Fleischmann comes to mind) eras of orchestras are defined by their artistic leaders – the Music Director. Trying to set up any conductor, Osmo included, as a puppet figurehead in order to placate your patrons is not going to work. Conductors tend to not work well that way, orchestras tend to revert to the lowest common artistic denominator, and eventually your patrons will see through the façade.
So the fundamental issue at the heart of the lockout remains. There is still no accountability on the part of the board, there is precious little input concerning the future of the organization on the part of the musicians and patrons, and two years down the road the orchestra is still going to be facing yearly deficits. The crux of the biscuit is now Henson vs. Vänskä, and there is precious little hope of this orchestra reclaiming its artistic or financial footing without a sea change in the philosophy of how it is governed.
But hey! The music is back in orchestra hall! Please ignore the empty seats (which will probably be filled in a couple of weeks when the ex-Music Director takes the stage). Please ignore the fact that the orchestra’s reputation is splattered all over the ground like a musical Humpty Dumpty. Please ignore the fact that even my guy over at the local pet shop – a 20-something, tattooed, nose-ringed, urban hipster who spends his time selling me wax worms for my bearded dragon to eat – asked me yesterday “when are they going to fire Henson and bring back Osmo?” Please ignore all this because the music is back!
Someone let me know when this lockout is really over, please. I can’t wait.
Well stated, Mr. Eddins. Indeed, it seems that very little was accomplished with the new contract in place. If for no other reason, it was to enable Richard Davis and Jon Campbell to step away as quietly as possible before the City of Minneapolis took the Hall away from the MOA. For anyone who truly wants the Orchestra to succeed, we must continue to loudly protest the Board’s current direction. This has become a fight between wealthy executives (Board members) who believe that their money gives them the right to run the Orchestra (into the ground), and the music-loving audience who probably give more of their income to the Orchestra by buying tickets. This Scandihoovian is done with passive/aggressive nonsense. New governance is the only way to right this listing ship. Let’s get to it people!
About your comment “which will probably be filled in a couple of weeks when the ex-Music Director takes the stage”, the concerts that Osmo is conducting at Orchestra Hall, all 4 of them, are already 100% sold out. if you include in the equation the two concerts he is conducting at Northrop, Osmo has sold 98% of the seats is concerts he is conducting. These are full price tickets, no Groupons or discounts needed.
I wish Edmonton were closer. I have so much respect for your writing, I would like to see and hear your conducting. The MOA should fire Henson and hire you as the new CEO.
It’s a classic! Make an offer to Osmo that he cannot possibly accept (and they know that), and the MOA can turn around and say, “Well, we tried . . .” However, if they (MOA) believe this will mollify the support groups that have spring up around the lockout with this kind of BS solution, I think they will be surprised. How out of touch can one group of people in a city be?
Bill, I could not agree more. I was around at the end of the labor dispute in Detroit. Things were bad, but not nearly as bad as they appear to be in Minnesota.
I believe that were it not for a drastic change in Governance championed by the new Chairman of the Board Phillip Fisher, the DSO would not be in nearly as good a position as it finds itself now.
It took several years, and in fact the process of healing is still going on in Detroit. But we had several things going for us that Minnesota does not: A CEO who began the process of healing by standing at the stage door to greet the musicians on their first day back, and an experienced Music Director who already had established relationships with all constituents including audience, musicians, board and management.
I see it like this: If Minnesota keeps Mr. Henson they will have no Music Director or at best a brand new one with no relationships, and a CEO who is unable to engage with the musicians or the audience due to damaged relationships.
If they fire Henson and reinstall Osmo Vänskä they will have an experienced and adored Music Director and any CEO they hire will be able to start fresh with no baggage from bad behavior during the lockout.
This does not seem like a difficult decision.
No artistic director in his or her right mind would take a job with with Henson in place (stating the obvious here). A board of directors of an artistic organization doesn’t need to be led by CEOs in the corporate world who can’t ever ever ever ever admit a mistake. It needs board members who have financial chops and understand and appreciate what they have/had – who will admit when mistakes were made (investment losses that were bad bets) and who are honest with the public.. We did not hear of this looming deficit when we were going to concerts in 2012 – we heard they had some issues, but all the focus was on getting the money for Orchestra Hall’s expansion. Money pledged and used for capital expenditures doesn’t come from the same pot as operational costs. Whether or not the musicians knew of these operating deficits, they were not in charge of the money – they were in charge of being the best they could be – and they were certainly all of that. Osmo and the musicians made up an orchestra that was truly one of the best in the country. But the board could actually win big time if they do this the right way. Fire Henson, hire Osmo and as part of his contract (as well as with the orchestra members’ input) make them part of the plan to raise funds. This will take additional time and work – concerts out in the community. I know they are doing this on an individual and group basis touring the Midwest rather than Europe, more interactive at colleges and local schools, community events – They need more visibility – not less. And if there is a new CEO – there isn’t an assurance that Osmo would return – whoever is in this position, they need to function as a team with the board. Because there are still financial problems – as Bill said. But donations will not come in while leadership sits there and lets this fester and the board acts as if they are above it all. The CEO isn’t the only person who lost respect – I am not only puzzled but saddened that board members still think they can bully their way out of this….I wish these people would resign as I have no idea why they are on this board in the first place (prestige?? – give me a break). It’s hard work to be on a board where there are financial problems these days. But to not look at the facts – and to ignore what your clients (the audience?) want – what do they think will happen?
I look forward to reading every post you make. You are a brilliant writer, and you have an uncanny ability to hone in on what is really going on, without being distracted by all the BS.
I am wondering if one of the fundamental issues at play within the Minnesota management and board is not about money, but about power.
Absolute power corrupts absolutely. How much does Not-Absolute-But-A-Heckuva-Lot-Of-Power corrupt? When it isn’t exactly corrupting someone, how much does it blind them?
Essentially, and despite an increasing group of thoughtful board members and some very talented people remaining on the MOA staff, key decision-makers are trying to move from a lockout to a “lock-in” with Mr. Henson still in charge. Won’t work. Can’t work. Sorry.
Thank you for your thoughtful comments. The Board’s lack of insight nd arrogance will never work. Until Osmo is back full-time, the problems remain….
Today’s news of the MOA’s tepid “offer” to bring Osmo back as a regular guest was insulting to Osmo and to audiences that know better. Making music and pleasing audiences requires more than Osmo showing up as a silent, compliant bobble head. There is no clearer proof a new governance structure is needed than this announcement that shows how out of touch the MOA is with their audience, musicians, and the art/business of running and orchestra. If the MOA had sought artistic or audience input before releasing this insular half-decision, they would have been quickly disabused of its validity, and warned of the bad blood, negative PR, and backfire it would most likely generate. I hope Osmo just ignores the offer until something real comes along, hopefully from the Minnesota Orchestra before someone else scoops him up.
The MOA has become a negative parody of the famous Japanese monkeys of the Toshogu Shrine in Nikko – They hear no truth, speak no truth, and see no truth. Only evil has come of it.
How would Osmo say “$%^& YOU” in Finnish? In good Scandahooooovian/Minnesotan style?
I think he’d just stare.
I’m asking this in all innocence: can someone cite an example of a major orchestra with a model form of governance?
Berlin Philharmonic; London Symphony Orchestra.
IT IS SAD THAT Rep. Phyllis Kahn will not proceed with the House bill to change the governance structure of the Orchestra. She said that now that the crisis is perceived to be over, the action would never make it through both houses. Now, more than ever, Rep. Kahn and Sen. Dibble, we need you to push ahead. Please help us.
I feel you, George, but Rep. Kahn is right.
As a rule, politicians don’t want to write into law changes in the structure of a private organization – and all the more so if that organization has a high public profile. That’s a big step, and a step that’s not even on certain legal or constitutional ground.
Legislators won’t even want to think about going that route unless there is a big crisis currently in progress. And in the eyes of the general electorate – not just the SOS Minnesota folks, but the wider public that elects legislators to their jobs – the crisis stage at the Minnesota Orchestra has passed.
Hi, Bill — Thanks for cutting to the chase. It’s about time someone said out loud, as writing on the internet seems to equal, what needs to be said about the current MOA Board. I’ve been writing about governance reform at my blog, Eyes on Life, going back to the founders and their idea to make the Association a membership governance structure. That structure was in place from 1907 through 1990, although starting in the late 1970’s, the Board had begun snipping away at it. There is a HUGE problem with a Board that can act with impunity and ignore ALL the major stakeholders. I’m proposing a return to the membership governance structure — this would also include the musicians — as I outline in my MinnPost article http://www.minnpost.com/community-voices/2014/03/orchestra-governance-should-honor-founders-intent. The same day the MinnPost article appeared, I published an article at my blog regarding the steps involved in changing to a membership structure http://eyesonlife-ginahunter.blogspot.com/2014/03/steps-to-governance-reform-at-minnesota.html. The week before, I parsed Ken Dayton’s article “Governance is Governance,” for insight about the MOA Board at Eyes on Life http://eyesonlife-ginahunter.blogspot.com/2014/02/governance-is-governance.html. Last fall I published a 3-part series on the history of MOA governance.
The resources and people are available to the MOA Board. The questions are: does Gordon Sprenger really have the leadership chops to institute change? And does the Board have the courage and true concern about the future of the MOA to actually comprehend that change is needed and the wisdom to implement it? If the answer is yes to both these questions, Michael Henson would have been packing up his desk a long time ago and Osmo would be finalizing programs for 2014-15.
What CAN be done?
Is it possible that Henson and the board think they do not need a Music Director? Might this be something that is part of the “new business model” ?
If that’s what they think, they’re wrong.