Next, I’m not certain who you are referring to with the phrase “union delegates” as orchestra musicians negotiate their respective master agreements directly. They can, and often do, receive support from local union offices or the Symphonic Services Division of the American Federation of Musicians. In other cases, they hire completely independent negotiators, legal counsel, and/or financial experts to assist in negotiations.

Finally, comparing the financial and labor models of the auto industry to the orchestra business is about as productive as basing artistic programming strictly on the pop music business: Hannah Montana has as much to do with orchestras as the UAW.

While it may expose my bias, what is the case-rationale for ANY compensation increase in CBA’s in light of current economic conditions? Excepting most of the Big Five, how do union delegates handle and respond to demising resources faced, especially, in the Midwest industrial cities: Cleveland, Detroit, Indianapolis and the like?

My experiences are unions often believe it is the failure of management to increase earned and contributed revenues irrespective of extraneous market forces. Is that generally the sentiment or are there other dimensions?

I know I am probably not the first to observe this, but isn’t there something this industry should be observing with vehement attention to Detroit Big Three (Autos) and the UAW CBA’s?

Ultimately, the SFS board had to determine that any increases in expenses is something they can support or they wouldn’t have agreed to the contract (at least, that’s the theory but that’s not always the practice – but that’s a different conversation).