I would just like to take a minute to jot some thoughts down. I have expressed most of these ideas in emails and discussions but I think they bear repeating in this forum.

I and many musicians in the New Hampshire Music Festival have always suspected an "ulterior motive" to the outrages actions by David Graham and Henry Fogel this summer. Management assailed the orchestra claiming that they wanted to improve the musical product. To make it more "exciting, "relevant" and "fresh" along with several other vague buzzwords. The quality of the music making at the NHMF has always been on a very high level. The musicians in the orchestra will all tell you that the NHMF orchestra is one of the better groups that they have played with in their careers. Because of the positive attitude that the musicians have always had and the ease in which we all worked together, the sum seemed to be far greater than the parts at the NHMF. While there were many problems with the festival, the product we produced was never an issue.

The issue of ticket sales and declining public interest was a rational for their "new model" though management's marketing of the festival became almost non-existent over the last few years. This year we witnessed a new low in the promotion of the festival and were told by management that they were concentrating on "viral" promotion which we found out meant "word of mouth".

The 2009 season of the New Hampshire Music Festival has been marked by discord over management’s vision for the future of the Festival.  Days before the opening of this year’s festival, the Musicians, who travel from as far away as France, San Francisco and Seattle, were informed by Festival President David Graham, and Festival Director, Henry Fogel that they would be required to reapply for their positions if they wish to be re-engaged for the 2010 orchestra season.  Veteran performers were being asked to submit an audition portfolio consisting of a CD or DVD of a solo performance of music from three periods of music history as well as optional performances of jazz, improvisation, or alternative styles, and three written essays regarding their approach to music making and mentoring.   Although the rationale behind it, as stated by Mr. Graham and Mr. Fogel, was to assure management that the musicians would be competent to assume duties related to a “new orchestra model” this reapplication process is unheard of in the professional music industry.

Management's refusal to recognize the Musicians as a collective bargaining unit left the Orchestra Committee in an extremely weak negotiating position.  In fact, Management refused to use the word "negotiate" so as not to inadvertently recognize the Musicians.

October 13, 2009

Dear Festival Musicians,

The New Hampshire Music Festival is now in the planning process for its 2010 Season.   As I am sure you are aware, we held meetings throughout the summer season with the Orchestra Committee and adopted many of the ideas they presented to us as we determined how best to move forward after the end of the 2009 season.  We realize that this past summer was a difficult one for everyone and we are looking forward to a season next year when we can work together to create great music and create a successful season for you and the Festival.

I am attaching a copy of the Personnel Policy that incorporates all the aspects of the discussions with the Orchestra Committee.  Should you have any questions relating to this letter, do not hesitate to contact me or one of the Orchestra Committee members for guidance or clarification.  I am also attaching two Lists: the first is fifty-nine (59) eligible musicians for consideration for employment in 2010 (“incumbent musicians”); the second list of ten (10) musicians are those who may be asked to substitute.  Any incumbent musician on the list of fifty-nine (59) who is not ultimately offered employment but who has been accepted after the opt-in process in 2010 will be added to this second substitute list as well.