Tuesday, May 5, 2015

"Some movement" in talks for a new Philadelphia Orchestra labor contract

A possible resolution to the main objective in the Philadelphia Orchestra’s chapter 11 bankruptcy case could emerge as soon as Wednesday as management and labor try to hammer out a deal under the supervision of a U.S. Bankruptcy judge.

"Some movement" in talks for a new Philadelphia Orchestra labor contract

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A possible resolution to the main objective in the Philadelphia Orchestra’s chapter 11 bankruptcy case could emerge as soon as Wednesday as management and labor try to hammer out a deal under the supervision of a U.S. Bankruptcy judge.

But if a new contract does not include continued participation in the national musicians’ pension fund, the fund will begin litigation involving donors and board members, fund leaders say.

Sources reported “some movement” in talks Sunday and Monday under the supervision of Stephen Raslavich, chief judge of U.S. Bankruptcy Court, Eastern District of Pennsylvania.

Musicians had not received a final offer from management as of Tuesday, the sources said, and Judge Raslavich asked the musicians’ union not to discuss a developing deal on wages and pension with players, who returned from vacation Tuesday for the start of the orchestra’s 2011-12 season.

Raslavich does not have the authority to dictate the terms of a new contract, but he has impressed upon both sides that if a deal is not arrived at through the present process in his court room, a long stretch of expensive and unpleasant litigation lies ahead.

That would include a legal process in which the Association seeks to impose a new contract on players.

It was still not clear whether, under the terms of a contract that may be coming together, the American Federation of Musicians and Employers’ Pension Fund would continue to serve as the retirement plan for musicians.

But if it’s not, fund leaders say they will pursue litigation to recover what they say is between $23 million and $35 million the fund would be owed as part of a withdrawal liability.

“When they finish mediation, if the fund is still attached, then we’re not going to be continuing the legal directions,” said Ray Hair, president of the American Federation of Musicians and a trustee of the pension fund.

If the pension fund is cut out, he said, “We have to mitigate that withdrawal liability, and we’ll look to the endowment to see if there are funds to help mitigate that.”

In fact, the pension fund is already far along on its investigation of the endowment. In a teleconference with the court Tuesday, the fund revealed that it had sent letters to 18 to 20 donors, asking whether they spelled out that their donations be earmarked as restricted to remain in endowment for perpetuity.

Fund attorney Hank (Herman) L. Goldsmith told Judge Eric L. Frank that the strategy was proving “fruitful.”

One donor who made a $2 million donation, Goldsmith said, had already responded that he made an “unrestricted gift, and the [Orchestra Association] kept writing back to say thank you for your restricted gift.”

The orchestra contends that all $120 million or so of its endowment is restricted by donor wish to remain in endowment, and is therefore unavailable to creditors as part of the bankruptcy. The legal theory under which the pension fund is operating is that perhaps up to $20 million in endowment gifts came with no clear instructions for their use, and that the fund, as the largest creditor in the case, is entitled to the money as part of the bankruptcy process.

Anne M. Aaronson, the Association’s bankruptcy attorney, said she only learned Monday that donors were being contacted. She expressed concern that they were being pulled into the case, and suggested that this course of action was “harassment or a vindictive act against the [Association]."

Not at all, Goldsmith essentially responded, arguing that establishing the exact size of the estate was a standard component of bankruptcy, and that the only way to do that was by contacting donors directly about the intended purpose of their gifts.

“They’re going to be pursued,” he said.

Inquirer Classical Music Critic
About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

Reach Peter at pdobrin@phillynews.com.

Peter Dobrin Inquirer Classical Music Critic
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