The Lost Accord
The Robin Hood Dell has been getting a yearly grant of $130,000 from the City. It seems likely that the Philadelphia Orchestra itself could get assistance, too. But this is contrary to the philosophy of Balis who is "dedicated to maintaining our orchestra without political interference." He points out, "Ormandy says in Europe artistic standards suffer at the hand I of the politician, and our experience has been this, too. It’s getting almost impossible to maintain orchestras without government subsidies. If we have no place to turn we might have to. But I’d fight it as long as possible."
Even though the orchestra and the Academy of Music are in relatively good financial shape, they still must depend on outside help for survival There was a time when men were welcome on a board like this if for no other reason than that they could make up operating deficits out of their own pockets. Nowadays, individual board members don’t have money like that, and are inclined to be less generous with what they do have (one of the most prominent directors reportedly donated only $400 last year). Private giving is drying up. Balis himself says this. The money will have to come from other sources. Corporate giving is a potential one, but in the words of a board member, "This orchestra is supported by the Main Line, not by big business."
Fund raising has not been one of the Association’s strong points. A few years ago the Association put out a pamphlet showing Philadelphia trailed all major orchestra cities in fund raising. It probably still does, even though it’s doing much better. According to the 14-month statement ending August 31st, 1966, membership campaign contributions totaled $237,864. This is far lower than the 12-month record of $325,000 in less populous Boston from individual contributions, not including corporate giving and bequests. Even the Robin Hood Dell raked in $121,000 in private contributions for its last six-week al fresco season (contributors give $100 and get two reserved seats for the free concerts).
The Wall Street Journal recently quoted a labor relations report of major orchestras as saying that foundation grants, growing local subsidies and the principle of Federal support point the way to the "gradual emergence of the American symphony orchestra from its own economic dark ages." Philadelphia’s orchestra will not benefit from government aid under the present management, but it has gotten a Ford Foundation windfall. Ford will payout $900,000 to Philadelphia over the course of the next five years, but the funds are earmarked for air-conditioning the Academy of Music, not meeting operating costs. Ford will also put $2 million into the endowment fund if Philadelphians will match it with $4 million in the five-year period. No one’s too optimistic about the chances for meeting the commitment.
