It seemed fitting that last week the Chicago Symphony Orchestra launched its first rehearsal in its newly renovated home with the finale of Beethoven’s Fifth Symphony. The finale’s famous four opening notes symbolize fate knocking–an ominous sound that grew in urgency after the symphony’s contract expired Sept. 14.
Behind closed-door negotiations, everyone apparently paid heed. Just before midnight Friday, the CSO and management reached a tentative agreement after almost eight hours of bargaining–and less than 24 hours before Saturday’s season-opening gala at Symphony Center.
“It’s fair to say both sides are pleased with the settlement,” said Michael Greenfield, the attorney representing the CSO’s 104 players through the Chicago Federation of Musicians Local 10-208.
Musicians were scheduled to vote on the contract at their 10 a.m. rehearsal Saturday, but that step seemed a mere formality. “Even though it’s subject to ratification, it’s safe to say the show will go on,” Greenfield said.
Greenfield also praised federal mediator Jim Schepker, the same mediator who brought both sides in the Lyric Opera orchestra talks back to the table last month just in time to save the start of the Lyric’s 43rd season.
“He deserves a great deal of the credit for bringing both sides together,” Greenfield said. “Since he did both the CSO and the Lyric, we’re calling him `The Music Man.’ “
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Greenfield sounded relieved the ordeal was over. “We’re drinking champagne,” he said minutes after the deal was reached.
CSO President Henry Fogel declined to comment, pending Saturday’s vote. But earlier Friday at a ribbon-cutting ceremony for Symphony Center, he sounded like Joe Namath guaranteeing a Super Bowl victory, promising CSO patrons and fans the gala would take place.
Details of the new three-year deal were being kept under wraps until after Saturday’s vote, though musicians had said they were seeking a pay increase slightly higher than the cost of living, and in line with previous CSO contracts.
Based on 5 percent increases each year, the current base salary of $1,510 a week would jump to $1,586 a week the first year ($82,446 a year), $1,665 a week the second year ($86,568 a year) and $1,748 a week the final year ($90,896 a year).
Even a smaller hike would once again make the CSO the highest paid orchestra in the nation. The base salary for the Philadelphia Orchestra is $1,500 a week, which will jump to $1,550 in November and $1,610 a week in 1998. The New York Philharmonic, which now pays a base salary of $1,560 a week, is scheduled to renegotiate its contract next year.
Although both sides in the CSO contract talks are used to last-minute wheeling and dealing, the unveiling of Symphony Center’s $110 million renovation cast an unusually bright spotlight on this year’s contract talks.
Failure to reach an agreement and a walkout by CSO musicians for this year’s gala would have proven to be a public-relations disaster for what is supposed to be an auspicious Symphony Center inaugural.
Also awaiting word on whether Symphony Center was a “go” or not this weekend were 84 national and international journalists, symphony orchestra executives and music professionals from all over the globe who were among the 2,522 people expected to jam the renovated Orchestra Hall Saturday night.