Among my goals for 2026 is to shine a well-deserved spotlight on our freelance orchestras. Lucky for me, that goes hand in hand with site visits, which have always been one of the best parts of the job. The business rep in me still enjoys talking with all of you and witnessing our members doing what they do best.

I recently had the pleasure of attending rehearsals at both the Riverside Symphony and the Little Orchestra Society. What I experienced was inspirational. The artistry, dedication, and collaborative spirit in both rooms were powerful. The musicians in these orchestras are not just earning every last accolade (and dollar) they get, but they are keeping these ensembles alive at a time when outside support is decreasing.

RIVERSIDE SYMPHONY

Riverside Symphony presented a concert that included Eyewitness News anchor Bill Ritter narrating “Peter and the Wolf.” According to its Web site, Riverside Symphony was founded in 1981 and is “widely acclaimed for bringing a unique musical perspective to New York City audiences. Innovative programs combining lesser-known gems both old and new with beloved masterpieces also shine the spotlight on young soloists of exceptional promise. Drawing on the legendary breadth and depth of New York City’s freelance musical community, conductor George Rothman and composer Anthony Korf…have forged a team of supremely accomplished instrumentalists, comfortable with music in an amazingly wide range of styles and periods.”

Local 802 member Alan Kay backs that up. He told me, “Having served as principal clarinet of the Riverside Symphony for over 40 years, I’ve seen firsthand an orchestra distinguished by fearless, innovative programming unlike any other orchestra in New York, a consistently high level of playing, and a longstanding commitment to introducing outstanding young soloists to New York audiences. I hope it continues forever!”

Riverside has only two concerts this season, both using reduced forces. They compensate musicians at the prevailing Local 802 rates and are currently in the second year of a three-year contract. Our hope is for a return to a larger orchestra as well as an expanded season.

(Above: the Riverside Symphony in rehearsal)

LITTLE ORCHESTRA SOCIETY

My visit to the Little Orchestra Society rehearsal included hearing some wonderful young piano soloists. Showcasing talented young musicians is a hallmark of LOS’s mission. According to their Web site, the Little Orchestra Society is celebrating its 79th anniversary season “as both a community music education organization and a premier performing arts ensemble for all children and families across the greater New York City area. We empower young people by engaging them with music composition and we celebrate their creativity along a continuum of programming. Core offerings are found in public elementary school classrooms, and LOS. connects this learning with live performances by professional musicians in the concert hall and in community spaces. All of these innovative programs inspire a new generation of children with the power of musical expression.”

I’ve attended LOS performances in the past and have always been amazed by the consistently high level of musicianship. The orchestra’s impact on New York City’s music scene throughout the years has been profound. Both kids and their teachers have expressed gratitude to the organization.

I want to share two quotes that LOS management shared with me. These quotes remind us why live music continues to inspire and make a difference:

• “I’ve been attending concerts of The Little Orchestra Society off and on for 70 years–first as a child; later as the father of two daughters; and lately continuing the tradition with my two grandchildren. Over the years the venues and formats have changed, but my children, grandchildren, and I have always loved them. I would recommend their concerts if you are interested in inspiring a new love of classical music, or simply encouraging an existing interest.”
• “I am writing to express my deep admiration and support for The Little Orchestra Society and its Musical Connections School Partnership Program. Public School 54X is located in an economically distressed, high-crime, highly mobile, and extremely transient neighborhood in the Fordham-Bedford section of the Bronx. This amazing program earned the respect and adoration of the entire PS54X community because of the quality of professionalism of [everyone involved]. Through their work, they make it possible for our students and their parents to understand music, compose their own new pieces, and attend high quality concerts.”

(Above: the Little Orchestra Society in rehearsal)

FINAL THOUGHTS

The Little Orchestra Society performed Rachmaninoff and Tchaikovsky with five string players but created the emotional impact of a full, 30-piece string section. The Riverside Symphony musicians created similar magic with similarly reduced forces. It is wonderful that both of these organizations continue to perform, albeit they are far from the powerhouses they once were. The heady days of New York City supporting more than a dozen thriving freelance orchestras with full seasons may be gone forever, but the freelance scene is by no means dead. As long as we keep working, there will be new generations of musicians to inspire and new audiences to keep these institutions alive — and Local 802 will be there, ensuring that musicians are compensated fairly with the protection of a union contract.

If you’re playing classical music in a nonunion ensemble and not being paid what you deserve, make a confidential call to Local 802 and let us tell you about the benefits of unionizing your gig. You can reach my office at (212) 245-4802, ext. 105 or kfisher@loca802afm.org, or you can contact the Local 802 Hotline anonymously at www.local802afm.org/hotline . Our freelance classical scale is posted on the Local 802 Web site at www.local802afm.org/contracts .