Word came of the recent settlement of a new contract for the Boston Symphony. In years past, the rates of pay for substitute and extra musicians (which are filled by freelance musicians) was locked to the rate paid to contracted members of the BSO. This contract cycle the rate for freelance musicians (which includes the Boston Pops Esplanade Orchestra) was slashed 17 percent. Basically the contract, which gave BSO musicians a 4.6 percent increase in the first year of the contract (with more to come in subsequent years of the contract) made room for a raise for the permanent members on the backs of the freelancers.

I think it's a troubling development, because it's not likely to ever be given back. The Oregon Symphony has a lower per-service rate for substitutes and extras, and though it's always been a priority to get parity for the freelancers, it has never been the highest one. In the quid pro quo world of negotiating a CBA, you have to give something to get something, and sub pay always goes off the table very early on. I don't know the history of the OSO's move away from parity, but I have the feeling that it was a similar deal to what has just happened in Boston.

What's worse is the message that something like this sends to your pool of freelance players. They are basically expendable, since if they weren't , you'd be keeping their pay at a competitive level. In Portland, our subs earn less per-service than in the Opera or Ballet orchestras, which is to me frankly unacceptable. If you are a freelance musician who is being called to play with your local major orchestra, you're most likely getting called at the last minute (often the morning of the first rehearsal) because a regular player has fallen ill or been injured. You're expected to play at the same level as the full-time members of the orchestra, but you're often sight-reading a part that, if you're lucky, you've played before, or if you're unlucky, is a world-premiere of a new work. You basically play an audition for your section every time you show up to work, and for this you are paid LESS than everyone else?? Give me a break! Parity of freelance musicians is not just a "nice option" but the only one.

Are there ever regular freelance players at negotiations?

No, only tenured, contracted members of the orchestra and the management representatives. It's up to the members of the orchestra to decide if shortchanging their valuable substitutes is in their own best interest.

In the Honolulu Symphony, as in many other orchestras, we have a core orchestra (63 positions) as well as about 20 per-service positions which come with a guaranteed minimum number of services. In our internal by-laws we have one spot on the eight member orchestra committee reserved for a per-service player. Several negotiations ago we fought for, and received, financial parity for per-service and casual hires. This means that every musician on the stage is working for the same basic scale. (Of course, some titled positions come with guaranteed minimum over-scale compensation, and some people have negotiated even higher personal contracts!) Having this kind of parity has taken care of the problems that Charles is describing, and has definitely been a boost for everyone's morale. Put this one on your wish list for your next CBA!

Hi Paul - it's always on my wish list, and whenever the survey comes for prioritizing needs for the new cba, it's always right near the top of my list (if not #1). I'm glad you got that change in your cba, good for you guys!

While it is ideal that every musician, regulars and subs, be paid the same (at least base rate) in the orchestra, there are some very real comparisons to be made here. In our last negotiations, subs and extras were frozen at the then current rate. The thinking behind that was the question of whether subs in our orchestra should be paid more per service than base salary players in the NY Philharmonic. That's a hard one to argue. Our contract is not nearly as harsh as the BSO's contract, but as wages rise past a certain limit, there are some real choices that have to be made. Unfortunately, subs and extras are just that - not part of our Master Agreement. Our subs and extras are subject to all of the other rules and benefits of the MA, for instance, working conditions, number of services, per diem and time off during tours. So in every other way, they are treated to the same perks and privileges as a contracted player. In any case, our subs and extras make quite a bit more than what the union rate is.

Is there a difference between a contracted player and a sub? Yes there is. Is it fair? Not always. But it's still the best (as far as live music goes) paying gig in town.

gloria

You have a valid point, but in our case, our subs and extras don't even make the minimum per-service rate of the base scale, AND this rate is less than the ballet and opera orchestras, which use many of the same free lance players that sub with us.