FAQs
Frequently Asked Questions
There has been a tremendous amount of misinformation about the Honolulu Symphony and the musicians that has caused confusion and divided our community. The following are responses to questions that have been raised by loyal symphony supporters during the musicians’ concert chats and in other venues.
The musicians have received overwhelming positive support, and we believe that the community deserves straightforward, honest answers to their questions. Our goal is to simply make sure the community has access to accurate information so that everyone can form their own opinions and draw their own conclusions.
Q. Is losing the Honolulu Symphony such a big deal? What’s at stake for Hawaii?
A. The Honolulu Symphony is at a critical point in its 110-year history in the Islands. The musicians would like to see full orchestra concerts available in the community once again to benefit this and future generations.
Other performing arts organizations such as Hawaii Opera Theatre and Ballet Hawaii depend on the Honolulu Symphony for live music in their performances. The musicians of the Honolulu Symphony also play a key role in nurturing young musicians at the University of Hawaii, in public and private schools, and through private lessons with students.
There are others, however, who would like to end this legacy of quality music in the Islands. They believe that to keep the Honolulu Symphony viable, the number of concerts must be drastically reduced and the musicians must be willing to virtually volunteer their time.
They also argue that Hawaii cannot sustain a professional symphony orchestra and that the proven business model that is currently being used successfully in other cities across the country is now obsolete. They propose a radically different view of the Honolulu Symphony as we know it today. Rather than taking a serious, introspective look at areas for improvement, they have instead opted to dismiss the business model altogether.
Q. Has the Honolulu Symphony Society taken the lead in bringing the various stakeholders together to plan for the future?
A. After filing for Chapter 11 bankruptcy, the Honolulu Symphony put together are organization committee which, according to its Web site, is comprised of Honolulu Symphony Society board members and officers, key community members, conductors and the Honolulu Symphony Foundation board members. Noticeably absent from this reorganization committee are the musicians themselves.
Though musicians have representation on the Honolulu Symphony Society Board of Directors and the Honolulu Symphony Foundation Board, plans for the direction and future of the HSS and HSF have not been shared in these forums; however, as with the rest of the community, we have been able to gain insights into their intentions through what their board members or management have shared publicly in the bankruptcy court hearings and in the media.
Q. Why did the Honolulu Symphony Society file for Chapter 11 bankruptcy?
A. The Honolulu Symphony Society, under the leadership of Kimberly Miyazawa Frank as board chair, along with Executive Director Majken Mechling and their attorneys, filed for bankruptcy because they believed it was their “only option.” The Society said it did not have sufficient revenue to pay down debt and carry on the existing 2009-2010 season.
It is important, however, to underscore that in the FAQs posted on the Honolulu Symphony Society’s Web site, the Chapter 11 bankruptcy filing and subsequent reorganization would “allow for renegotiation of the existing CBA (collective bargaining agreement)” with the musicians.
There are other full-time professional orchestras that are having financial challenges; however, none have actually filed for bankruptcy protection. Competent, dedicated leaders of other professional orchestras have found ways to carry on the mission of their organization in even the toughest times.
Q. Why have the musicians refused to come to the table to renegotiate the collective bargaining agreement?
A. The musicians have recently met with symphony leadership and their attorneys, but having accurate information in a timely manner to make informed decisions is critical to making any negotiations meaningful. The musicians have made numerous requests for audited financial statements over the past several months, but the Honolulu Symphony Society has not provided these documents.
It appears the Honolulu Symphony Society has not had audited financial statements for at least the past five years. In fact, no financial statement or Treasurer’s report was provided at the Honolulu Symphony Society’s annual meeting held in June 2010. Yet, at a time when the symphony’s survival and recovery are at stake, all stakeholders and the community should be entitled to know the financial condition of the symphony, particularly those who have been generous supporters over the years.
Q. Why aren’t the musicians supportive of the Honolulu Symphony Society?
A. The musicians have a documented track record of concessions over the years to ensure the success of the Honolulu Symphony. In fact, just prior to the 2009-2010 season, the musicians had agreed to a 15 percent pay reduction that would have yielded between $500,000 and $700,000 savings. After making this concession the musicians and symphony patrons were shocked by the Honolulu Symphony Society’s decision to abruptly cancel all remaining concerts just a few weeks into the new season and days after assuring the musicians that they had identified enough funding to get through December.
When the Honolulu Symphony Society initially announced its bankruptcy filing, it stated that their plan was to reduce the size the orchestra by half. Today, however, the Honolulu Symphony Society claims it never proposed reducing the number of musicians. This flip-flopping makes it difficult to know exactly what their next plan may be or if it may change again in a few months.
Q. Isn’t it true that the Honolulu Symphony Foundation has made significant contributions to the Honolulu Symphony?
Prior to the bankruptcy filing, the Honolulu Symphony Foundation Board voted to collateralize a portion of the state’s $4 million appropriation, a total of $1.8 million, to pay back wages owed to musicians from the previous season. The money was allotted in three installments of $600,000, with each portion tied to a specific stipulation.
The first installment required the musicians to agree to hiring the current executive director, Majken Mechling. The second installment was based on the Honolulu Symphony Society developing a “realistic budget” which had to contain musician salary concessions of 15%. The third installment was tied to the Honolulu Symphony developing 30-60-90 day plan of action. However, it is important to note that 30-60-90 day plan was not implemented.
Q. What qualifications are important for an executive director of the Honolulu Symphony?
A. Performing arts organization leadership experience is extremely important to effectively lead the Honolulu Symphony. The current executive director may have had nonprofit management experience, but does not have any performing arts experience. As stated in the Honolulu Symphony Society’s by-laws, the appointment of an executive director must be through mutual agreement between the musicians and Symphony Society board.
It is a little known fact that a condition of the musicians receiving their back pay was to agree to hire Majken Mechling as executive director. Considering her lack of arts management experience, the musicians agreed to this with two important conditions: 1) that the initial contract be limited to one year 2) that an arts management expert be engaged to advise her during the first year. Despite agreement to these conditions, the HSS board leadership offered Ms. Mechling a three-year contract and has so far declined to seek an industry professional for guidance and advice.
Q. What is the budget of the Honolulu Symphony?
A. For the past 32 years the budget for the Honolulu Symphony has averaged nearly $7 million per year in 2009 dollars. (See chart below) The budget for this past season was scheduled to be $6.7 million. A significant portion of this budget would have been generated through contracts with Hawaii Opera Theatre and Ballet Hawaii as well as local, state and federal funding. Earned revenue, or ticket sales, usually account for $1.8-2.0 million. The annual fund was scheduled to be about $2 million.
The Honolulu Symphony Society claims its budget for the first year after emerging from bankruptcy will be only $1.7 million. It also states the budget would be increased each year to a maximum of $3.7 million by its third year out of bankruptcy. Even this would be half the budget the orchestra has operated on for more than 30 years.
Q. The Honolulu Symphony Society states on its Web site that it must raise $50,000 per month to run the organization during bankruptcy. Since there have been no concerts, what is the money used for?
A. That is a question best answered by the Honolulu Symphony Society. Please send inquires to Ms. Majken Mechling, Executive Director, 875 Waimanu Street, Suite 164, Honolulu, Hawaii 96813, or email her directly at majken@honolulusymphony.com. You may also call (808) 524-0815 or fax (808) 589-2667.
The Honolulu Symphony Society has reduced its staff to two people. Based on monthly financial operating reports filed as part of the bankruptcy, we estimate the salaries amount to about $20,000 per month. In other words, about half of the money raised from donors is earmarked for two salaries and benefits. Needless to say, no funds are currently being used for concerts, back pay for musicians, or medical insurance which the symphony cancelled in November 2009 without notifying the musicians.
Q. How much were the musicians getting paid before the bankruptcy and what is the Honolulu Symphony Society proposing the pay the musicians under their reorganization plan?
A. According to the agreement made in September 2009, the musicians’ annual base salary prior to the bankruptcy was $30,885. Under their new plan, the Honolulu Symphony Society is proposing a 92 percent pay decrease – to just $3,256 per year to perform five or six concerts annually. In most cases this amount of money doesn’t even cover the costs of maintaining our musical instruments.
Q. The Honolulu Symphony Society has said it does not consider the musicians full-time employees and therefore should not be paid as full-time employees. Isn’t that fair?
A. This reflects a significant lack of understanding of the music and orchestra business. The Honolulu Symphony Society claims that musicians 20 hours of rehearsals and performances per week amounts to part-time employment, but fails to consider the hours of warm up and practice on our own, so that when we come together for rehearsals and concerts, we can perform at the high level that audiences have come to expect. This easily adds up to 40 or more hours per week.
B. At one time the Honolulu Symphony performed for more than 40 weeks a year, but this has continually been cut back due to budget constraints. The obvious danger to this way of thinking is what we have today – a proposed season consisting of four or five concerts for the year.
For perspective here is a sample of other full-time orchestras and their weekly schedules and 2008-09 salaries.
Orchestra |
Services* per week |
Annual Base Salary |
Honolulu Symphony |
8 |
$34,500 |
Rochester Philharmonic |
8 |
$39,975 |
Oregon Symphony |
8 |
$45,924 |
Colorado Symphony |
8 |
$47,066 |
San Diego Symphony |
8 |
$52,266 |
Dallas Symphony |
8 |
$82,524 |
New York Philharmonic |
8 |
$123,760 |
San Francisco Symphony |
8 |
$124,800 |
Los Angeles Philharmonic |
8 |
$127,140 |
Boston Symphony |
8 |
$128,180 |
*A service is either a rehearsal or a concert and usually lasts 2-2.5 hours. An eight-service week would mean 20 hours of rehearsals and concerts.
Q. Don’t most of the musicians have other jobs anyway and the pay from the Honolulu Symphony is used to supplement their income?
A. This is not accurate information. The vast majority of orchestra members derive their primary income from their HSO salary. As a result of three years of delayed payrolls and season cacellation a handful of musicians have been forced to find alternative employment. Many, but not all, of the musicians also teach students; however, this is to supplement their income derived from their roles in the orchestra. Most musicians in the symphony moved to Hawaii to perform full-time with the Honolulu Symphony.
Q. The Honolulu Symphony Society claims that the musicians are paid “at the top of the scale” and that their compensation, including benefits, is not aligned with other professional symphonies in the United States. What is the musicians’ response to this?
A.
Salary
For the 2008-09 season the Honolulu Symphony annual base salary of $34,500 ranked 45th of 50 International Conference of Symphony and Opera Musicians (ICSOM) orchestras which range from $26,115 to $135,000. After the 15% concession agreed to in September 2009, the HSO base salary was $30,885 dropping it to 47th of 50. The weekly base salary for 2008-09 also ranked 45th of 50.
Health Insurance
Current coverage for HSO musicians is 100% for employee and 50% for spouse or dependents. 40 of the 50 ICSOM orchestras offer 90-100% health insurance coverage and 35 orchestras offer comparable or better coverage for dependents.
Q. We’ve heard the Honolulu Symphony Society offered to pay the musicians for two concerts, a Fourth of July concert and a Labor Day concert, but the musicians refused these opportunities?
A. Each of these proposals was reviewed carefully, but a number of factors had to be considered.
First, based on the Honolulu Symphony Society’s track record of not paying musicians on time or not paying at all, this raised concerns on the part of the union. We have not yet been paid for one week of work in October 2009. Unfortunately, not many realize that this consistent pattern of late or non-payments has occurred over the past two years. It has become clear that the role of the union, the Musicians’ Association of Hawaii, Local 677, American Federation of Musicians, is very important in protecting the musicians from unsuitable offers of work.
Second, the Honolulu Symphony Society demanded a commitment from the musicians three months in advance, while they wanted the option of canceling up to just five days before the proposed concert if they could not raise sufficient funds to produce the concert. This would have been unfair to the musicians.
Third, the invitation to perform was not sent to all the musicians, and since the invitation was sent to individual musicians, we were unsure who was contacted. It is not clear if omitting contracted musicians from being invited to perform at these concerts was intentional or an oversight.
Fourth, on a practical level, with the Honolulu Symphony Society’s pared down staffing the musicians could not reasonably see how these concerts could be properly produced. There is no Operations staff and no Marketing staff to produce or promote a concert successfully.
Based on these and other related reasons, the union deemed the Honolulu Symphony Society’s invitation to be “not a suitable offer of work” and declined to refer the work to the musicians.
Q. Mark Wong, president of the Honolulu Symphony Foundation, compiled an organizational analysis of the Honolulu Symphony. The results showed the Honolulu Symphony showed the need for a much smaller budget with fewer concerts. What has been the musicians’ response to this?
A. Our primary concern is that rigorous, in-depth research was not conducted for this “analysis.” Instead, selected sources and metrics were used to support preconceived notions and conclusions. When this report was first presented in bankruptcy court, the U.S. Trustee did not consider it a credible report since it was not conducted by an independent, objective source. For a point-by-point discussion of the analysis, click here.
If you have additional concerns, please feel free to email your questions or comments to HonSymMus@aol.com. Mahalo!
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