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AGENDA,
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:City Commissibn Special Budget Meeting
Tuesday ~ August 31 I 1993 - East Libra'ry,
: " , ..' 9:00 A.M. ,
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1. Cail to order
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2. ' Parks & Recreation
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General seryices
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Marina
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Human R.esources .
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Ad~iriistrative ,Services
a) Cominunity Outreach (new)
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City Clerk
Administrati on'
a) .C,ity Manager',
.b) Emergency Operations
c) H'l!man Relations
d) InternafAudit
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Outstanding.jssues
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1\IEMORANOUM;
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TO:
Mayor and City Commission.
Tina Wilson, ~Udgct Director ~
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. Corrections to 1993/94 RecOllln1ended Budget
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July 7, 1993
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Y.'have.llttached the following'items for your. review: ",
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Corrections t~ thec~miJlilntion of working capital for nil Enlerpriseflntel11al SerVice Fu'nd~:
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TIle'mission stntenlcnt nnd gonls for the Economic Developll1cnt Department.
. tinintentionnlly lert out of'the Rccommimded Budget. , . .' ""
Thcse items. were, .
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~ apologize forony inconvenience cnusedby these chll,n,ges;
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WATER & SEWER FUND
STATEMENT' OF REVENUES AND EXPENDITURE!';
ACTUAL
FY 91/92
, BUDGET
FY 92/93
ADJUSXED
FY 92/93
RECOMMENDED
FY 93/94
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~~~~~__=a=caM_=m~===a==a===e==:=m===============~===========================c========
BEGINNING WORKING CAPITAL -
8,096,722
9,365,437
9,365,437
11,090,907
-------------~-----------------------------------------------------------------------
REVENUES I
Operating Revenue - Billings
Other operating
other.Revenue
other Financing Sources
27,203,769 28,384',585 29,2E.O,720 30,000,000
1,018,599 796,000 880,920 875,000
2,961,360 1,656,270 1,705,410 .2,2~2,500
490,867 785,030 687,130 184,000
------.----...- ------------ ------------ ------------
31,674,59~ 31,621,885 32,554,180 .'33,321,500
------------ ------------ ------------ ------------
11,816,085 11,012,540 11,540,830 ' 4,857,080
523,092 553,370 553,370 596,890
8,979,240
1,761,769 1,788,510 1,764,000
996,040
885,930
8,962,816 9,960,570 9,958,680 9,608,380
7,342,118 7,133,730 7,.011,930 7,027,860
------------ ------------ ------------ ------------
30,405,8BO 30,448,720 30,828,810 32,951,420
------------ ------------ ------------ ------------
9,365,437 10,538,602 11,090,807 ' 11,460,887
TOTAL REVENUES -
EXPENDITURES:
Water Distribution
'Water Field & support
Water. supply
Sewers/Lift Stations
Sanitary Sewers
Sewer Lift stations/Motoi Shop
Water Pollution Control
,Non-Departmental,
TOTAL EXPENDITURES -
ENDING WORKING CAPITAL -
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=~====~==~=========~==================~==c======~==c===~======~====~=====;===c=======
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STORMWATER UTILITY FUND
STATEMENT OF REVENUES AND EXPENDITURES
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ACTUAL
FY 91/92
BUDGET
FY 92/93
ADJUSTED
FY !12/93
RECOMl-fENDEO
F"{ 93/94
===a~===~==========~============~===============~======~====================:========
BEGINNING WORKING CAPITAL -
1,209,835
1,633,356
1,633,356
1,855,606
-------------------------------------------------------------------------------------
REVENUES:
Operating Revenue - Billings
other Revenue
3,379,444
168,278
3,300,000
144,650
3,374,090
142,600
3,380,000
199,050
TOTAL REVENUES - ,
3,547,722
3,444,650
3,516,690
3,579,050
EX12ENDITURES:
Wa~ershed Management
stormwater
Envi~onmental Regulatory
1,766,527
1,357,674
1,828,570
1,476,790
1,'828,640
1,41;5,800
2,011,380
1,51'1,750
52,920
. TOTAL EXPENDITURES -
3,124,201
'3,294,440
3',305,360
3,579,050
--- 91'--------
ENDING WORKING CAPITAL-
, 1,633,356'
1,772,646
1,855,606
1,8!i5,606
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STATEME~T OF REVENUES AND EXPENDITURES
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FY 91/92
BUDGET
FY 92/93
ADJUSTED
FY, 92/93
RECOMMENDED
FY93/94
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BEGINNING WORKING CAPI~~ -
1,B21,882
1,642,051
1,642,051
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REVENUES: I
operating Revenue ~,Billings
other Operating
.. Other Revenue
10,977,542
132,786'
391,805
12,461,820
125,750
207,480
,,12,389,570
170,740
255,340,
12,155,000
189,000
219,000
e_________________________________
TO!rAL'REVENUES '- 11,502,133 12,795,050 12,815,65012,563,000
--------------------------------- ------------ ------------ ------------ ------------
'EXPENDITURES S
'Solid Waste Division
utilities'Group Administration
'Administration
collec::tion'
Transfer
Recycling
container Maintenance
12,136,760
1?2,7BO
11 , 960, 300
193,580
11,503,230
178,734
601,7,60
9,706,420
91S,,560
562,740
432,100
.--------------------------------- ------------ ------------ ------------------------
~O!rAL'E:XPENDITURES - 11,681',964 12,319,540 12,153,880 .'12,218.1580
--------------------------------- ------------ ------------ ------------ ------------
ENDING"WORKING CAPITAL - 1,6~2,051 2,117,561,,2,303,821 2,'648,241
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STATEMENT OF REVENUES AND EXPENDITURES
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FY 91/92
BUDGET
FY 92/93
ADJUSTED
FY. 92/93
RECOMMENDED
FY 93/94
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BEGINNING WORKING CAPITAL -
'167,270
162,205
162,:105'
162,205
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, REVENUES:
operating Revenue
other Revenue
246,998
30,788
69,630
3,250
167,200
,4,920
249,270
8,030
TOTAL REVENUES - 277,786 72,880 172,120 257,300
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TOTAL EXPENDITURES - 282,851 64,820 '172,120 . 226,400
ENDING WORKING CAPITAL :.. 162',,205 170,265 162,205 193,105
==================~==========================================a=c=c~======~=~~e~=~==ee
PARKING FUND
STATEMENT OF REVENUES AND EXPENDITURES
ACTUAL
FY , 9 1/92
BUDGET
FY 92/93
ADJUSTED
FY 92/93
RECOMMENDED,
FY 93/94
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BEGINNING WORKING CAPITAL -
621,124
28,388
245,416
245,416
, REVENUES 1
Operating Revenue
Other Revenue
" Working, Capital
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,
1,730,517 2,065,160 2,065,160, 2,083,000
265,034 290,470 260,470 203,110
'395,220 395,220
------------ ------------ -----....------ ------------
1,995,551 2,750,1350 2,720,850 2!286,1l0
------------ ------------ ------------ ------------
1,989,251 2,239,300 2,180,060 1,87~,380
382,008 361,550 362,598 390,040
------------ ------------ ------------ ------------
2,371,259 2,600,850 2,542,658 2,266,420.
------------ ------------ ------------ ------------
395,220 395,229
------------ ------------ ------------ ------------
245,416 ' 196 :!8,388 48,078
'EXPENDITURES:
Parking Operations ,
Beach Guards Operations
TOTAL EXPENDITURES -
, Less:
Use of Prior Year Working
Capital
ENDING WORKING CAPITAL -
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,',STATEMENT OF REVENUES AND EXPENDITURES
ACTUAL
FY 91/92
BUDGET
FY 92/93
ADJUSTED
FY 92/93
RECOMMENDED
FY 93/9,4
~=~~=~==~~==~~==ca~=a~e=m==c===================================================~=~==c
BEGINNING WORKING CAPITAL - ,
-156,871
324,866
950,601
32,4,866 ,
-------------------------------------------------------------------------------------
REVENUES t
operating Revenue'
other Revenue
1,564,632 '
158,372
1,630,000
100
1,630,110
100,000
1,660,100
," , 20,000
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---~-----------------------------
TOTAL REVENUES - 1,723,004 1,630,100 ,1,130,110 1,680,100
--------------------------------- ------------ ------------ ------------ ------------
TOTAL EXPENDITURES - 1,241,267 1,048,560 1~104,375' 1,068,060
--------------------------------- ------------ ------------ ------------ ------------
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ENDI~G, WORKIN,G CAPITAL - 324,866 906,406 950,601 , 1,562,641
=====================================================================================
MARINA FUND
STATEMENT OF REVENUES AND EXPENDITURES
ACTUAL BUDGET ADJUSTED RECO~IENDED
FY 91/92 FY 92/93 FY 92/93:' FY 9~/9~,
==========~=~c=====ce=~===~=~==========================================~=============
BEGINNING WORKING CAPITAL -
317,737
341,356
280,661 ,
341,356
REVENUES:
Operating Revenue
Other Enterprise Reve,nue
other Revenue
Working Capital
1,480,094 1,390,600 1,475,600 I, 1,505,600
147,870 97,190 97,790 102,940
116,324 103,250 107,050 108,800
69,495
------------ ------------ ------------ ------------
1,744,288" 1,591,640 1,749,935 1,717,340
------------ -----------... ----- .------- ------------
1,720,669 1,56'4,240 1,741,135 1,587,220
---...-------- ------------ ------------ ------------
69,495
------------ ------------ ------------ ------------
341',356 368,756 280,661 410,781
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TOTAL REVENUES -
TOTAL EXPENDITURES -
Lese: Use of Prior Year WorKing
capital
ENDINO WORKING.CAPITAL -
=====================================================================================
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STATEMENT OF-REVENUES AND EXPENDITURES
. ACTUJ\.L
FY 91/92
BUDGET
FY 92/93
ADJUSTED
FY 92/93
nECOMJ.1ENDED
FY 93/94
~=~~=~=d=~==~=~=====~===~===~~======~===~===============================~============
BEGINNING WORKING CAPITAL -
-463,205
:-347,126
-3~7, 126 '
-613,176
--------------------------------------------------------------------------------------
Billings to Departments
other Revenue
Working Capital
2,483,804
t1,158 '
2,362,160
2,475,410
4;000
124,620
2,452,380
266,050
145,410
---------------------------------
~OTAL REVENUES -
2,407,962
2,604,030
2, 71S', 430
2,507,570
---------------------------------
--~---------,------------
EXPENDITURES:
Administration
Building & Maintenance
946,400
1,772,030
889,030
1,715,000
913,080
,1,594,490
924,174
1,447,709
--------------------------------- ------------ ------------ ------------, ------------
TOTAL EXPENDITURES -
2,371,B83
2,604,030
2,507,570
2,718,430
--------------------------------- ------------ ------------ -----.------- ------------
,Leas: Use of Prior Year Working
capital
266,050
145,410 ,
124,620
_____________________n___________ ____________ -___________ ------------ ------------
ENDING WORKING CAPITAL -
-347,126
-613,176
-758,586
-471,7'46
=============================~=====cc====================~~======~cc========~c=======
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ADMINISTRATIVE SERVICES FUND
STATEMENT OF REVENUES AND EXPENDITURES
ACTUAL
FY 91/92 ,
BUDGET
FY 92/93
ADJUSTED
FY 92/93
RECOMMENDED
'FY 93/94
===============~====e=~===c================~=========================================
BEGINNING WORKING CAPITAL -
-76,392
'~7 , 507
-36,407
-7,507
----------------------~-----------------------------------_.._--------------.~---------
Billings to Departments
other Revenue
3,817,148 4,128,680 4,077,170 4,157,320
38,830 33,060 32,060 33,900
28,900
------------ ------------ ------------ ------------
3,855,978 4,161,740 4 , 13 8, 1'30 ,4,191,220
-----------.... ------------ ------------ ------------
274,709 317,780 '324,530 326;560
1,134,350 1,247,190 1,247,190 1,269,320
'486,281 519,790 520,080 556,640
1;891,753 2,046,330 2,0.16,330 1,984,480 .
------------ ------------ ------------ ----------.--
3,787,093 4,131,090 4,138,130 4,137,000
------------ ------------ ------------ ------------
28,900
------------ ------------ ------------ ------------
-7,507 23,143 -36,407 17 , a 13
TOTAL REVENUES -
---------------------------------
,
EXPENDITURES:
Graphic Communications
Computer Information Services
Purchasing
utility ,Customer Support
---------------------------------
TOT~ EXPENDITURES, -
---------------------~-----------
Less: , Use of Prior Year Hor.king
Capital
---------------------------------
ENDING WORKING CAPITnL,-
============~=================~======~===D=a~===;==================c======m=c==~====c
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GARAGE FUND
STATEMENT OF REVENUES AND EXPENDITURES
ACTUAL
FY 91/92
, BUDGET
FY,92/93
ADJUSTED
FY 92/93
'.C!,.
RECOMMENDED
FY 93/94
=~~~a~=aa===~===~=c~==~~e~~e==c======================================================
BEGINNING WORKING CAPITAL - ..622,745 '-1,859,1~0 -1,859,120 -2,703,316
Billings to Dep~rtmente
Other Revenue
Prior Working capital
5,885,030
453,289
--------------------------------- ------------ ------------ ------------ ------------
,
---------------------------------
TOTAL REVENUES -
6,338;319
, ,
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EXPENDlTURESz
Fleet Maintenance
Radio Communicationo
7,378,554
'196,140
TOTAL EXPENDITURES -
7,574,694
Lees: Uee of 'Prior Year Working
capital
5,828,080
331,870
932,960
7,092,910
6,874,850
218,060
7,092,910
932,960
6,040,810
242,500
938,186
7,221,496
6,880,076
247,430
7,127,506
938,186
6,393,000
265,000
627,590
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7,285,590
6,432,590
937,870
7,370,460
--------------------------------- ------------ ------------ ------------ ------------
627,590
ENDING WORKING CAPITAL -1,859,120 -2,792,080 -2,703,316 -3,415,776
============~===============1:=======================================================~
, ,
CENTRAL INSURANCE FUND
STATEMENT OF REVENUES AND EXPENDITURES
AC1'UAL
F\' 91/92
BUDGET
FY 92/93
ADJUSTED
FY 92/93
..
RECOMMENDED
FY ~3/94
BEGINNING WORKING CAPITAL -
4,358,573
aD_.=m=========~====:=====:=====~====================================================
7,025,785
Billings to Departments
Other. Revenue
6,773,1\04
892/033
TOTAL REVENUES -
7,665,437
EXPENDITURESl
Risk. Management
Employee Relatione
,Non-Departmental
311,073
5,985,812
TOTAL EXPENDITURES -
6,296,805
---------------------------------
ENDING WORKING CAPITAL -
,5,727,125
====================================a~==o==Cg~gc======~=C=C==Dag=a=a================~
7,931,975
12
5,727,125
6,028,!l30
626,620
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ECONOMIC J)EVELOPI\H~NT
,AJ>MINISTRATION
GORis:
1.
To'identify economic oPP9rtunities thnt are lost because of 7.oning
regulations which 'arc not compatible with c1mng,es in Clearwater's,
economy.
Measures:
Number of businesses which locatc here because of code changes,
2. ' To eliminnte unnecessary reglllntions by reviewing business regulations affecting small
businesses nnd issue a "Business Reference Guide on Rules and Reg1l1nti~ns': by
Februnry 1994, ' '
Measures:
Number of regulations removed,
3, To emphasize selling cily~acquircd property in low income neighborhoods to enhance
the redevelopment needs of the neighbor,ho~'ds.
Measures:
Number of properties developed in low incomc neighborhoods.
4,' Toiniliate a beller plnn, for, licellsing and moniloring strect vcndors, taxis, and
newspaper machines within the enlire city,
Measures:
Redll~lion of visual clutter, c'lear rights-of-way, good taxi service, and
less cluttered privale business property,
,5,' To dcvelop, our infill housing project lo provide 20 addilional homcs outside of the
current nrea by Jnmmry J995,
..
Mcasures: .
Number of homcs outside current inn/I hOl/sing area developed.
6,'
To develop :ttleasl two "tJusincss In'lprovement Arens" with help fr~rn local property
owners :1nd mcrch:ll1t.'i 10 enlmncc the business climnte of their commercial aild
industri:t'1 areas through efforts ranging, from sanitation and security services. to
marketing and special events.
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Two arens which have sl'iecific visible improvement because of efforts
of the City. ..
Ecollnmic Dcvetol,mcnl
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John L. Hyer
Pmldfnl &. CEO
Irwin Hoffman
MUllc DIrl'CtDr l.IIureale
August 30, 1993
Sk1tch Hendl1l'son
, Pop' MlJIIlc Din'Clor
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Ms Cathy Rice
Assistant City Manager
City of Clearwater
P.O. Box 4748
Clearwater, Florida 34618~4748
RECEJ'T~D
~UG 3 1 1993
City Manager
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Dear Cathy:
We appreciated the opportunity to present our Case to the City Commission today, Based upon
seveial of the comments and questions that arose from our presentation, we have enclosed
support documents for our request of $100,000 for the 1993/94 'season.
Throughout the United States it has been shown that if professional orchestras are developed and
sustained, funding must come from a diversified support base. Included in this base are city,
county and state funding. It is not widely known that orchestras can not be sustained by ticket
sales alone. The primary reasons for this are because most concert halls do not have sufficient
seats and ticket prices can not be set high enough to pay for the expenses.
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Orchestras must rely on contributions from individual citizens, businesses and corporations,
private foundations and public governmental monies. Over the years, the Orchestra field has
found that if appropriate funding levels are developed, the burden of sustaining a fiscally
responsible orchestra can be maintained. The case for tax support has been easily demonstrated,
and, indeed, most orchestras receive such support, The "Local Government Support for Selected
Orchestras" attachment lists funding for three orchestras located in population centers similar
to Clearwater. Government funding to The Florida Orchestm Comprises 21 % of our contributed
income; according to the American Symphony Orchestra League statistical information,
Orchestras located in metropolitan areas the size of the Tampa Bay areas average 23 %.
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As Commissioners are awaret The Orchestra has presented its Case and received funding from
each of our two county governments and three city governments (where we perform) as well as
the State of Florida and the National Endowment for the Arts, Total funding from these
agencies for FY92 was $478,373; for FY93 it was $536,000; we project $625,000 for FY94,
In FY93 local government funding was $265,000, and the Orchestra received $221,550 as a
Major Cultural Institution from the State. For FY94 through FY96, our funding from the State
will be about $274,000 ench year, The "Local Governmental Contributions" attachment outlines
a three-year history of the five local governments,
Because of its mobility an orchestra can perform for tens of thousands of children and young
people in their schools and in the concerts halls, These free concerts must be sus~ned by
5tll;O Wl~t Cypm..s Strl'l'l, SlIitl' A, Tampa. HoriJ.l :\:ll11l7 In lIilbhorulIHh Kl ;I.2Kf.. J1711 ur 1.H!.Xl.Kflll.1l70 (Fall) K13,2&',.2:\16
A CO"Y OF TU~ OfFICIAL HrOnnllAllON A "II fiNANCIAl INrnnUAllO" ,",AY Ill, OlllAINfO fno.. lilt IlIV..ION 0' CONIlU,",f/UrUVICU 11'1' CAlllHa lOll fllU; "_"U'1~U WIlHlN TH~ ITAn.
f\[OlllHlATlON oor. NOl IMPl'l' [NnOUnUJ NI, ."PUO"'.lllll mCO,.,.tNPA lION 11'1' TlU; lUAU,
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public dollars. The Orchestra receives $15,000 each from the School Boards of Pinellas and
Hillsborough counties to support parts of our extensive education/outreach programs,
In addition to school~oriented programs, the Orchestra also performs in parks such as Coachman.
It should be noted that the attached proposal targets the expansion of these concerts as a priority
over the next three years. The Orchestra is also responsive to disaster needs in its communities.
For instance, last year the Orchestra provided hundreds of T-shirts' and mugs for Hurricane
Andrew victims in South Florida. We also provided a free concert at Ruth Eckered Hall for the
Pinellas Red Cross after the tornados hit Pinellas County. Orchestra services of $15,000 were
provided and Ruth Eckerd Hall provided the facility. Over $10,000 was raised to help the relief
effort. '
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Periodically, The Orchestra has received funding from smaller communities within Pinellas and
Hillsborough counties primarily to fund outdoor concerts since there are not professional
performance facilities in these communities. We have found that the funding required for such
events is more than most smaller communities can sustain by themselves so we have asked our
county agencies to assist. During the past year, we have explored such concerts with the cities
of Dunedin and Safety Harbor in the north county area. It is our intention to add two concerts
in P~nellas County and at least two more in ~i1lsborough County within the next few years.
As the Orchestra has grown, the costs for outdoor concerts has grown also. Current costs for
an outdoor concert of the type we have presented for fifteen years at Plant Park in Tampa are
$25,000. Theses concerts include special dinners for sponsor guests, food vendors' who donate
proceeds to The Orchestra for that evening, special support organization sections of the park
where our volunteer groups may sell special dinners to patrons, T-shirt sales, and banners
around the park for sponsors. It is planned to develop Clearwater into this kind of event which
would greatly increase the sponsorship need and audience attendance. We plan to expand our
special ouWoor events from a total of two (2) to seven (7) within the next three years in Pinellas
and Hillsborough counties,
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The Orchestra's Case Statement is included as part of the financial information section. The
Plan includes five major Objectives:
1. Increase annual contributr.d income by $300,000 per year;
2, Complete the establishment of a $1.5 million Cash Reserve Fund and eliminate
accumulated deficit of approximately $2,9 million;
3. Secure $200,000 in new and increased funding for artistic needs each year;
4. Solidify efficient and effective multi-county organizational structure;
5. Increase endowment program from $2.2 million to a minimum of $25 million,
The financials which are incorporated with the plan address Objectives 1-4, It is the intention
of the Orchestra's leadership to continue developing endowment prospects during the next five
years and begin a major campaign once the financial base has been solidified, The financials
also include the tentative financial agreements made with Orchestra musicians for the next three
year contract.
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,It was mentioned in our presentation today that the City provides extensive funding to Ruth
Eckerd Hall each year. The Orchestra does not directly benefit from this subsidy; in fact, we
pay for all services including rent, stagehands, catering, etc. for each concert. The attachement
titled "Pinellas County Hall Rentals" details our expenses for FY94. It should also be noted that
as Co-Chair of the State's Task Force to re~design the Major Cultural Institutions Program last
year, The Florida Orchestra provided the leadership to support Ruth Eckered Hall's inclusion,
into that program which resulted in a first grant of $500,000 from the State.
The Orchestra's ability to secure funding includes knowledge of the funding potential, both
public and private, in our home cities, and the ASOL statistics from other orchestras within ou~
"small majors" category. In order for The Florida Orchestra to fulfill its Case Statement
mandate, $500,000 from local governments must be secured each year for the next five years.
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The Florida Orchestra is most appreciative of the support the City of Clearwater has provided
in the past. Without public funding, all performances whether paid or "free" would be too
, ,expensive,for citizens - in our case, eac~ performance would,cost $50 instead of the $25 ticket
price we currently have. There would be no schools concerts, adult outreach programs such as
our pre-concert lectures, pll:blic' service concerts such as the tornado concert, and it would be
difficult ,to fund new programs such as the Family Concert Series. The scope of free programs
for the citizenry are underwritten by public and private support such as the funding we receive
from the City of Clearwater. We 'hope with your support to be able to continue to provide these
services and performances to a wide diversity and growing segment of people who have chosen
Clearwater as their residence,
Sincerely,
J hn L, Hyer
President and CEO
Enclosures
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TABLE.OF CONTENTS
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PropoSal Descriptio~ and Orchestra: opefa:iirig Budget
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Local',Governmental Contributions
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Three Year History .
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P~nellas Cou,nty Hall Rentals
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Fin'ancial Information
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Financial OvelView
Case Statement
Debt Reduction Plan
Audit FY92
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Support Materials
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IRS Determination
Mission statement
Board of Trustees ,.
'key Artistic and Administrative Bios
,History ,
Brochures and Special Programs
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THE FLORIDA ORCHESTRA, Ir.rC.
JAHJA LING, Music Director'
PROPOSAL DESC!l1PTION
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PROPOSAL DESCRIPTION
Obiectives
The primary objective of the Parks, Pops &. Families program is to diversify The Florida Orchestrats
present and future audience. To.ward this endt over the next three years; the Orchestra intends to:
1, Expand a series of free outdoor Park Concerts in underserved neighborhoods in Pinellas
County,
2; Establish a series of Family Concerts for children and their families in Pinellas County,
3, Enhance the offerings of The Florida Orchestra's Pops Series (7 concerts) in Pinellas
County for the benefit of the citizens of Pinellas County,
4, Continue and expand the radio broadcast series on public radio station WUSF, 'These
Sunday afternoon programst with commentary, reach an estimated Bay-wide radio
audience of 350,000,
These inter-related programs were identified by the Education Committee of The Florida Orchestra as '
the most effective vehicles with which a profound change in the diversity of The Florida Orchestra's
constituency could be accomplished, By reinforcing the family unit in all four areas, The Florida
,Orchestra is able to reach much deeper into the community than it normally has, Entire families' with
young children are not ordinarily part of the symphony orchestra audience, By capturing the imagination
of Ute entire family, there is a much better chance for Utis to be a lasting and cherished experience,
1993-1993 SEASON
1994-1995 SEASON
1996~ 1996 SEASON
Park Concerts (4)
Family Concerts (3)
Pops Concerts (7)
Radio Broadcasts (14)
Park 'Concerts (5)
Family Concerts (4)
Pops, Concerts (7)
Radio Broadcasts (15)
Park Concerts (6)
Family Concerts (5)
Pops Concerts (7)
Radio Broadcasts (16)
Evaluation
Park Concerts will be evaluated in three ways: 1) By the total number of individuals in attendance; 2)
By the number of individuals who have never heard a performance of The Florida Orchestra before; and
*3) By the number of individuals who also attend the Family Concert Series, .
Family Concerts will be evaluated by the total number of individuals in attendance; 2) Through feedback
from Pinellas County music teachers on The Florida Orchestrats Education Committee; and 3) Selected
interview with families in attendance; and 4) Tracking past ticket holders versus new patrons, '
Pops Concerts will be evaluated by the number of series tickets sold and audience surveys regarding
program content and other Florida Orchestra concerts attended.
* As dc:tennincd by audience lIurvey,
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THE FLORIDA ORCHESTRA, INC.
JAllJA LING, Music Director
weAL GOVERNMENTAL CONTRlBUTIQNS
, THREE YEAR HISTORY
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PROJECTED
GOV'T AGENCY FY 1990-91 FY 1991-92 FY 1992-93 FY 1993-94
, c City of Clearwater $ 10,000 $ 10,000 $ 15,000 ' $ 100,000
City of 81. Petersburg $ 32,500 $ 35,000 $ 30,000 $ 100,000
City of Tampa $ 47,500 , $ 60,000 $ 60,000 $ 100,000
,Hillsborough County $ 60,000' $ 60,000 $ 60,000 $ 100,000
, Pinellas County $ 0 0 $ 100,000 $, 100,000
TOTALS $ 150,000 $ 165,000 $ 265,000 ' $ 500,000,
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WCAL GOVERNMENTAL CONTRIBUTIONS
THREE YEAR HISTORY
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THE FLORIDA ORCHESTRA, INC.
, JAlUA LING. Music Director
, WeAL GOVERNMENTAL SUPPORT
. FOR S~LECTED SYMPHONY ORCHESTRAS
THROUGHOUT THE UNITED STATES
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LOCAL GOVERNMENTAL SUPPORT ,
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TIIROUGHOTJT THE UNITED STATES
~ Salt Lake City, Utah
$ 657,200
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Ft. Lauderdale, ~Iorida '
$ 431,221
Raleigh, North Carolina
$ 321,079
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THE FLORIDA ORCHE~TRA, INC.
JAHJALING, Music Director
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PINELLAS COUNTY HALL RENTALS
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1993wl994 PINELLAS COUNTY BALL ~TAL
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Series
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Mahaffey
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Classical 22,400 35,000 , . "
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StiperPop~ 14,000 17,500 "
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Musical 2,000 2,500 " ~.1
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TOTAL RENTAL FEES: 47,900
69,600.
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THE FLORIDA ORCHESTRA",INC.
JAHJA LING, Music Director '
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, FINANCIAL 'INFORMATION
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THE FLORIDA ORCHESTRA, INC.
FINANCIAL OVERVIEW
BACKGROUND
As The Florida Orchestra became fully professional with union contracts and salaried personnel,
both artistic and management, it began to experience the same constraints shared by other
regional orchestras nationally. Contracts meant to stabilize the artistic product and encourage
cqmmunity support in reality eroded the financial stability experienced by community, non-
professionat' orchestras, Coupled with the lack of substantial endowments, which can sustain the
most prestigious orchestras in an economic downturn, regional orchestras with budgets between
$3 million and $10 million have been the hardest hit during the last decade.
The Florida Orchestra t s budget has grown in the past five years' from $3.3 million in 1988 to
. $4,7 million in 1993, Although ticket income has grown at a rate of about 14% annually and
contributed income has increased at an average of 18% annually, the Orchestra is operating on
a substandard budget by national standards and with substandard wages, Primarily because of
recessionary economic factors and a few governmental cutbacks, 1992 saw almost $600,000
additional debt added to an already large deficit.
The financial side of any orchestra entails generating revenues from two sources: ticket/tour
fees from performances and contributions. Typically earned income (revenue from
performances) covers approximately 50 percent of an orchestra's funding needs and contributions
the remaining 50 percent. This equation pre-supposes that the institution is capitalized properly
and that the ability to handle cash flow is in place,
FINANCIAL ANALYSIS
The Florida Orchestra must: 1) build new strategies for capitalizing itself; 2) solve its cash flow
needs internally; and 3) begin to address the accumulated deficit before i~ can truly "secure its
futurett with a major endowment campaign, The Florida Orchestra is currently undercapitalized
by $5 million which should be developed over the next 3-5 years.
The Orchestra's debt has two pieces: one, long term bank debt of $1.2 million which is being
repaid at $100,000 each year and payments owed to musicians which will be included in future
contract negotiations and repaid over a period of time, The second is current liabilities which
include ticket sale monies collected each Spring for the following season of $1.2 million and
current payables of about $300,000. A Cash Reserve Fund of $1,5 million would effectively
eliminate this second part and reduce the total debt of $3 million to a manageable amount which
has agreements already in place for repayment.
Finally, there should also be in place a minimum $25 million endowment instead of the $2.2
million it has been able to develop. Structures are now in place to allow plans to be
implemented that will stabilize the budget process, structure the contributed in~ome, and build
a cash reserve to take the place of bank loans for credit lines~ The Cash Reserve will allow the
Orchestra to move away from the debilitating cycle of borrowing money to facilitate each
season, With appropriate marketing techniques both for earned and unearned income, the
Orchestra can be in a position to move forward in a secure fashion within the next three years.
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OVERVIEW
The Florida Orchestra, celebrating its 25th anniversary season in 1992/93, is honored to have
been designated as one of the State of Florida's first major cultural institutions. It has emerged
as the leading professional symphony orchestra in Florida and is considered one of the best
regional orchestras in America.
The Florida Orchestra makes its home in three Bay area communities: Clearwater, St.
Petersburg and Tampa and selVes the counties of HilIsborough, Pasco, Pinellas, Polk and
Sarasota. With eighty-seven talented musicians, superb guest artists' and an annual budget of
$4.7 million, the Orchestra performs more than 150 concerts annually to audiences totaling over
150,000.
The Florida Orchestra is artistically led by Music Director Jahja Ling, who is also Resident
Conductor of the world-renowned Cleveland Orchestra and one of America's finest rising
conductors. The Orchestra's conducting staff is completed with talented Resident Conductor
Edward Cumming and the ever-popular Skitch Henderson as Pops Music Director. .
The Florida Orchestra is the most viable orchestra in the central part of the State of Florida.
Its vicissitudes are not exceptional; they are a product of the philosophy of operating orchestras
bought into across the United States during the 1970's and 1980's. . These operating philosophies
were not unlike the business world during the same period,
The ,Florida Orchestra and other orchestras are unlike the for-profit sector in the 1990's, The
rebound CUlVe is slower and more painful even though the probability of success and the
improbability of failure are less than in profit-making centers,
The Florida Orchestra believes that solutions are not elusive, The Orchestra must become
leaner and meaner, with better accounting and greater financial investment in professional
management with more sophisticated tools. Many of the problems have been cured in Box
Office, Accounting and Marketing, The next steps involve'securing the present and protecting
the future with proper development tools,
The Florida Orchestra has developed a plan of action to build a Cash ReselVe Fund of $1.2
million; to stabilize the annual and special funding with $5 million in increased dollars over the
next five years; to use the surplus gained each year to reduce the accumulated deficit; and to
position itself to initiate, a $25 million endowment campaign to secure the artistic and
management excellence so necessary to a major institution.' '
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THE CASE
CENTRAL FLORIDA: AT 'ffiE CROSSROADS
Central Florida from' Tampa Bay to Orlando is achieving the status of a major international
region with a burgeoning cultural community that is worthy of respect.
When The Florida Orchestra attracted the rising young conductor Jahja Ling to become its new
'Music Director in 1988, the national press sat up and took notice of the Tampa Bay area's
developing cultural landscape.
The Florida Orchestra fulfills the role of more than just an orchestra. It is part of a cultural
industry crucial and integral to any major metropolitan region. The presence of the Orchestra
not only contributes to the quality of life for the residential and corporate communities, but'
substantially impacts Central Florida's economy. In addition to the tangible benefit of economic
impact, The Florida Orchestra is one' of Tampa Bay's premier ambassadorsJ reinforcing the
perception that the Bay area is a desirable and first-rate destination,
It follows that if The Florida Orchestra is enabled to develop deep and supportive roots in each
of the home-communities it serves, it can mature to full blossom as one of the nation's most
respected cultural, institutions. '
A COMl\.fi1NITY ASSET
ARTISTIC AND COMMUNITY IMPACT
In the past five years, The Florida Orchestra has received many positive reviews of its artistic
quality from regional and national publications. There is no question that the leadership Maestro
Ling has exerted since his arrival has built a major orchestral ensemble. It is a tribute to the
qrchestra and Maestro Ling to have recently received, an unsolicited invitation for a European
tour in 1995. In an attempt to expand the impact of such a tour far beyond that of the Orchestra
itself, to something of significant value to the Bay area and the State, explorations for such a
tour are being designed to address economic development, investment and .tourism interests. The
Florida Orchestra would serve as highly visible ambassadors to those constituencies in Central
Europe, carrying the name and image of the Bay area in a creative, exciting manner.
From the Orchestra's inception twenty five years ago, it has served a regional constituency. The
Orchestra makes its home in three communities: Clearwater, St. Petersburg and Tampa.
During the 1993-94 season, the Orchestra will present 175 performances in the region. Over
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11,500 season subscribcrs see The Florida Orchcstra in regular series throughout the season, and
an addition~ 50,(X)() Floridians and visitors attcnd special programs such as nBroadway, Jazz
and A Little Country," "Bayfest" and Yulctide Holiday programs. Approximately 56,000 young
people are, treated to special educational performances in the three professional halls and in
school settings, and the Orchestra's radio broadcasts reach an additional 200,000 listeners.
The personnel of The Florida Orchestra provide services that reach far beyond the staged
performances and deep into the communities in which they live. Administrative staff partiCipate
actively on a national level, serving on local, state and national funding panels, consulting with
cultural organizations; and volunteering their services to many local non-profit groups. The
Orchestra's musicians average age is 35, 59% of whom are married and 33% who have'
children. Over 50% have master's degrees and all musicians have attended a'college, university
or conservatory. Each has spent 24 years studying his/her instrument and have played
professional for fourteen years. Over half own homes in their comrilUnities, Many hold facuIty
positions; serve as consultants or instructors in area music programs; provide services for
religious, civic and social institutions; and volunteer in 25 other non-profit, organizations in the
area.
PROGRAM SCOPE
The Florida Orchestra has been recognized, since it's inception twenty-five years ago at the
merger of two Bay area orchestras, then called the Florida Gulf Coast Symphony, as an
ensemble of exceptional quality. Maestro Irwin Hoffman left the Chicago Symphony to become
its first music director. The Florida Orchestra was the'first symphony in the State of Florida
to be placed on the ,Florida Arts Council's state-wide touring program, an honor it has
continually enjoyed. The Orchestra is also one of only twenty six institutions recognized by the
State of Florida as a Major Cultural Institution.
In 1984, the Board of Trustees recognized the growth from a local institution into one with state-
wide and national stature with a name change to The Florida Orchestra. Shortly thereafter, it
became a full-time, salaried occupation for the musicians, and in 1988 a new era was launched
with, the appointment of Jahja Ling, Resident Conductor of the world-renowned Cleveland
Orchestra, as it second music director. Maestro Ling's European debut with the Gewandhaus
Orchestra of Leipzig, Germany, received shining reviews, assuring his reputation as a world-
class talent. Acclaim for The Florida Or9hestra has soared under his leadership.
The Orchestra's September to May season showcases its 88 talented musicians and important
guest artists in over 175 performances of classical Masterworks concerts, the popular Super Pops
series, and informal Coffee and Champagne series. Performances are produced in the Bay
area's three major concert halls: the Tampa Bay Performing Arts Center in Tampa, the
Bayfront Center's Mahaffey Theater in St. Petersburg and Ruth Eckerd Hall in Clearwater.
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Concerts in the area t s parks and other special performances attract thousands of area residents
and tourists. In 1991 Maestro Ling brought the Orchestra into the international spotlight when
he led them in the performance of the "Star Spangled Banner," with Whitney Houston at Super
Bowl XXV, before a world-wide audience of 750 million. The Orchestra made musical history
as the first orchestra invited to perform at a Super Bowl, and a recording and video of that
performance went platinum, making The Florida Orchestra the first American orchestra with
such an award. A total audience of 150,000 per year comes not only from,th,e two resident
counties of Hillsborough and PinelJas, but the surrounding areas of Polk~ Pasco and Sarasota
counties, visitors from around the state, and those 'from around the nation and European
countries. The very successful February, 1992, ItBay-thoven Festival, It in particular, was
attended by tourists from as far away as California, Canada and the Netherlands.
COMMUNITY ACCESSmILITY AND EDUCATION
In addition to subscription and special progmms, The Florida Orchestra has developed ,one of
'the finest community education programs for music in the nation, serving the public and private
school levels K-12, as well as adults.
The primary goal of the Orchestra's education program is to develop, provide and promote
quality music education programs, and to act as an advocate for all music education in its service
area which includes the four counties of Hillsborough, Pasco, Pinellas and Polk.
Thirty two specially-designed youth concerts are presented annually for over 56,000 fourth and
fifth grade students in Hillsborough and Pinellas Counties~ An extensive study guide is prepared
by the Orchestra's Education Coordinator in conjunction with the county music supervisors and
a committee of music teachers, Teachers use the study guide as an integral part of the
curriculum to prepare students for the concer:t hall experience, Children attending the concerts
receive a souvenir program and follow-up materials are provided to the teachers for after-concert
exercises. The Orchestra also provides ensembles in the schools for about 2,400 selected
students at the elementary and middle school levels each year.
Three to five thousand free tickets are provided to children and parents or guardians who could
not otherwise attend a concert through the Orchestra's "Bring a Child to the Orchestra" program.
Dress rehearsals are opened regularly. The Pre-concert Lecture Series is presented in all three
halls prior to each Masterworks series program and draws up to 100 people in each location.
Pre-concert lectures prior to the Coffee Concerts in St. Petersburg were begun in 1992 and draw
almost 200 people for each concert.
Relative to a goal of expanding the Orchestra's educational programming, The Florida
Orchestra, with its Tampa Guild, mounts an important Young Artist Competition each year'to
encourage talented young musicians from the Orchest..-a's primary service area. The
competition, which has Junior (under 15 years) and Senior (16-22 years) divisions, draws 40-50
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solo artists in piano, strings, brass, woodwinds, and percussion. In addition Lo monetary prizes,
the three Senior winners are given the opportunity to perform with the Orchestra. "
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The "Side by Side" program, initiated in 1990, provides the opportunity for members of the
Tampa Bay Youth Orchestra and the Pinellas Youth Symphony to sit and play with Orchestra
musicians at one rehearsal and concert each year. In 1993, 185 musicians participated in this
program.
REGIONALIZA TION
In the world of American music, it is not uncommon for orchestras to serve more than one
community on a regular basis, a viable approach to maintaining a high level of quality and
support because expenses for delivering services can be shared by multiple home-communities.
The Florida Orchestra currently serves three resident-communities and is exploring expanded
opportunities in several other counties across Central Florida, It has become apparent that the
only way Central Florida will be able to develop quality arts organizations of international
stature will be through a regional approach to cooperation and support, Anyone county is
incapable of fully supporting a major cultural institution, In order, to attract quality artists to
Central Florida, these artists must have a full-season contract. ,This requires a multi-community
relationship in order to produce the number of performances necessary to justify such contracts.
This multi-county approach is also being practiced by the Florida Philharmonic Orchestra in
South Florida;
FINANCIAL OVERVIEW
BACKGROUND
As the Florida Orchestra became fully professional with union contracts and salaried personnel,
both artistic and management, it began to experience the same constraints shared by other
regional orchestras nationally, Contracts meant to stabilize the artistic product and encourage
community support in reality eroded the financial stability experiencedby community, non-
professional orchestras. Coupled with the lack of substantial endowments, which can sustain the
most prestigious orchestras in an economic downturn, regional orchestras with budgets between
$3 million and $10 million have been the hardest, hit during the l~t decade.
The Florida Orchestra's budget has grown in the past five years from $3.3 million in 1988 to
$4.7 million in 1993. Although ticket income has grown at a rate of about 14% annually and
contributed income has increas~ at an average of 18% annually, t~e Orchestra is operating on
a substandard budget by national standards and with substandard wages. Primarily because of
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recessionary economic factors and a few governmental cutbacks, 1992 saw almost $600,000
additional debt added to an already large deficit.
The financial side of any orchestra entails generating revenues from two sources: ticket/tour
fees from performances and contributions. Typically, earned income (revenue from
performances) covers approximately 50 percent of an orchestra's funding needs and contributions
the remaining 50 percent. This equation pre-supposes that the institution is capitalized properly
and that the ability to handle cash flow is, in place.
FINANCIAL ANALYSIS
The Florida Orchestra must: 1) build new strategies for capitalizing itself; 2) solve its cc.tsh flow
needs internally; and 3) begin to address the accumulated deficit before it can truly ltsecure its
futurett with a major endowment campaign. The Florida Orchestra is currently undercapitalized
by $5 million which should be developed over the next 3-5 years,
The Orchestra's debt has two pieces: one, long term bank debt of $1.2 million which is being
repaid at $100,000 each year and payments owed to musicians which will be included in future
contract negotiations and repaid over a period of time. The second is current liabilities which
include ticket sale monies collected each spring for the following season of $1.2 million and
current payables of about $300,000. A Cash Reserve Fund of $1.5 million would effectively
eliminate this second part and reduce the total debt of $3 million to a managable amount which
has agreements already in place for repayment.
Finally, there should also be in place a minimum $25 million endowment instead of the $2.2
million it has been able to develop; Structures are now in place to allow plans to be
implemented that will stabilize the budget process, structure the contributed income, and build
a ,cash reserve to take the place of bank loans for credit lines. The Cash Reserve will allow the
Orchestra to move away from the debilitating cycle of borrowing money to facilitate each
season, With appropriate marketing techniques both for earned and unearned income, the
Orchestra can be in a position to move forward in a secure fashion within the next three years.
SUMMARY
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The Florida Orchestra provides a multi-faceted level of service that ranges beyond staged
performances and deep into the communities it serves, The number of dollars from ticket sales
~d contributions that reasonably are currently expected from Hillsborough and PinelJas Counties
alone does not cover the capitalization required for artistic growth and community service so
important to a creative institution, Current funding expectations also do not sustain capital and
equipment needs required to better serve the Orchestra's constituency. The future is bright; but
that future is dependent upon a capitalization, cash reserve and endowment program
commensurate with the Orchestra's budget and national' standing.
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, THE PROPOSAL
BACKGROUND
In order for The Florida Orchestra to maintain quality and diversity t and to guide future growth,
it'must achieve long term stability. The following concerns are of'primary importance in this
crucial plan: '
CASH FLOW
The cash, flow problems affectin'g the Orchestra at specific points during its season underscore
the need to build the small existing cash reserve to one equaling approximately $1.5 million to
replace bank credit lines and eliminate a threat to its stability. The Orchestra must develop
internal cash flow abilities which will alleviate the debilitating cycle of borrowing money to
facilitate each season. '
The Orchestra's' accumulated deficitJ at approximately $3 million represents the difference
between the community acceptance and growth the Orchestra has' achieved in its twenty five
years and its ability to capitalize the attendant requirements with a cash reserve and substantial
endowment. This deficit is a major cause of the Orchestra's cash flow problems and hampers
its ability to comfortably maintain current services,
During the 1991/92 fiscal year, The Florida Orchestra sustained $600JOOO in new debt as a
result of three major factors: the economic recession which has caused certain cutbacks in
contributed income, a new three year contract (1990 - 1993) which increased both weeks and
pay each year, and a substantial turnover in the management staff. In January, 1992J these three
factors combined to focus U1e Orchestra's attention on the third year of the contract which began
in Ju~e, 1992. Research on the economic factors beyond the control of the Orchestra leadership
and management's plan for confronting yet more debt within the current contract led to a re-
organized plan for fiscal year 1993.
The budget recommended by, the Finance Committee and' approved by the Board of Trustees
called for a balanced budget with a 34 week performance schedule, cut backs in staffing, and
smaller departmental budgets. The budget was reduced by about $500,000 to $4.7 million.
In addition to the reduced budget, the Orchestra instituted a Cash Reserve Fund. The Florida
Orchestra Cash Reserve Fund is a permanent revolvtng fund established by the Orchestra's
Board of Trustees in October, 1991, Restrictions on the fund include a provision that all monies
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borrowed from the fund must be back in the account for at least 30 consecutive days each fiscal
year. During FY92, Cash Reserve was initiated with about $200,000 in gifts and $620,000 in
guaranteed loans which were repaid. During FY93, 94 and 95, the Orchestra plans to raise $1.3
million in contributions to complete a $1.5 million Cash Reserve Fund.
ORGANIZATIONAL STRUCTURE
Although the artistic product has rapidly matured since the arrival of Music Director Jahja Ling,
the management underpinnings to drive a major orchestra are not fully developed. The
-infrastructure: staff size and experience, financial planning models (cash reserve structure, cash
flow management, and endowment management), capital needs (new computer, system,
appropriate rehearsal and office space, and artistic and office equipment) and funding support
(annual, special projects and major gifts) lag behind the quality of the artistic product. There
is a real need to ascertain the most efficient and effective structure and service delivery system
to grow a inajor orchestra, The Orchestra is currently attempting to manage with a traditional
. arts management structure in a situation that is non-traditional. Should further regional
expansion in Central Florida come to fruition, that need for an efficient structure will grow even
greater. With the demise of the Florida Symphony in Orlando during 1~93, new opportunities
and challenges face The Florida Orchestra with regard to structure and service to the counties
of Central Florida,
ARTISTIC ENHANCEMENT
The artistic growth of any orchestra is dependent upon its ability to build its musicians' artistic
excellence, to perform most of the great works of the Orchestra literature and to commission
new works. The Florida Orchestra's artistic vision combines a respect for the orchestral
traditions from which it came with a reflection of a twenty-first century economic and audience
development reality. '
Retaining a strong, uniquely talented Music Director such as Jahja Ling is an essential element
in the Orchestra's success, and one that constitutes an ever-present challenge in' the highly
competitive professional orchestra industry. ,
In order to expand the works currently available for an Orchestra of 87 musicians, the Music
Director must have available means with which to develop a broader scope of orchestral
programming, to commission new works and to maintain the superior quality of musicians when
some move on, to larger orchestras. The artistic integrity of any orchestra is dependent upon
securing and retaining or replacing the highest quality of musician possible. The Florida
Orchestra, as a regional orchestra', stands to lose seven to twelve musicians annually to major
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orchestras. Securing replacements always means increased costs in order to maintain the quality
required.
Continuing to sustain an O~chestra with individual players of the highest professional calibre,
an institution must provide players with sufficient work and commensurate pay to retain them,
in a competitive market. Of value not 'only to the Orchestra that "anchors" their commitment
to the Tampa Bay area and Central Florida, these musicians are also the standard~setters for
other cultural organizations in the communities where they reside and perform.
It'is a goal of The Florida Orchestra to introduce at least two regional or world premieres each
season and to develop two major new projects during the next three years, At a cost factor of
$25,000-50,000 for a commission and $100,000 for a single new project, the Orchestra needs
an additional $125,000-150,000 annually for artistic enhancement. Taken in context with
musicians' salaries, the lIcapital costsll for programming annually total grow at a rate of
$250,000 per season. Securing stable, on-going funding for these projects is a primary need in
support of the artistic mission.
ENDOWMENT
The key to long term excellence and service is the building of a significant endowment fund and
an expanded base of annual giving in the private sector.
Endowment is a necessary element ~n producing the stability required to maintain current quality
levels and program breadth, reliably providing funds with which to balance the operating budget.
Endowment also allows for flexibility to meet changing needs, and for effective planning,
enabling the Music Director to launch new artistic plans in full confidence that funding will be
sufficient for the organization to carry out its mission. With its existing endowment base of
almost $2.2 million, the Orchestra's leadership has reason to ,believe that there are more
endowment prospects in Central Florida with the interest and means to make a significant gift
to the Orchestra. Through an endowment matching incentive program, the Orchestra would be
able to initiate an active endowment and planned giving program until such time as a major
public endowment campaign is appropriate.
At the same time, the Annual Fund must continue at a fairly rapid growth rate, With the
concerted efforts in place to expand the donor base in service counties, its is projected that the
Annual Fund can grow at about ten percent compounded annually or $300,000 each year. With
a continually'growing donor base from 1,500 in FY92 to a projected 3,500 in FY95, additional
prospects for major gifts and endow~ent will be cultivated.
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PLAN OF ACTION
Clearly these issues must,be addressed promptly and prudently, Failure to resolve them would
halt the very existence of the Orchestrat' its service to the Central Flori~a regiont and its
enrichment of 'the lives of thousands of its individual constituents, It is necessary' to launch an
aggressive new plan of action.
In MaYt .1992t the Board of T111stees began work on a Strategic Plan with the major goal of'
balancing the "two bottom lines" - artistic and financial. During the next few years, the
Orchestra will complete a feasibility study to ascertain whether the financial "bottom line" can
be achieved at the rate desired.
The Strategic Plan of Action includes the following priority objectives for the next five
years:
Objective I
must be able to increase the level of private annual operating
support at an average rate of about ten percent compounded or
$300tOOO in ne~ money each year in order to maintain the artistic
product, an ever growing, community education program, and
national and international touring visibility.
ObjeCtive II
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must be to establis~ a Cash Reserve Fund of approximately $1.5
million and' eliminate the accumulated deficit of approximately
$2.9 million. '
Objective III
must be to secure $200,000 in new and increased funding sources
for artistic needs each year,
Objective IV
must be to solidify an efficient and effective multi-county
organizational structure for artistic, management and
volunteer leadership,
Objective V
must be to increase the endowment program from $2.2
, million to a minimum $25 million which will underwrite
important artistic plans and guarantee fisc3J stability in the
future. '
The Florida Orchestra has added value to its communitYR~the State of Florida, and
Central Florida particularly. The immensity of its contribution has been
acknowledged widely and memorably in. its, twenty five year history.
Unquestionably, a strong financial base is an essential underpinning of 'artistic
excellence, just'as cultural strength is essential to economic well-~eing. A world-
, class cultural institution is a beacon that attracts attention from great distances~
bringing admirers and participants ready to be creative on J!lany levels.
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Great ~ultura1 institutions are known for their artistic quality, their great leadership and their
uncommon support. The absence of one will undermine the success, of, the others. With the
leadership of the Community Foundation and the assistan~, of others being invi~ to, support ,
the articulated case for securing the future, The Florida Orchestra will sustain its growth, protect,
its' future" and 'ensure excellence in artistry and management.
CONCLUSION:
Central Florida is asked to witness it Florida Orchestra coming of age. In this organization is
united. every factor that makes for success: excellence,' stability, inspiration, enthusiasm,
capacity for future growth and astute leadership.
The results, of this plan would have a profound effect on the future of The Florida Orchestra.
By meeting the match, the Orchestra will successfully meet the Annual Fund goal; cash flow,
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needs and financial discipline will be' more effectively developed; current prospects for Cash
Reserye would be more effectively cultivated; and The Florida Orch,estra would be poised at 'a
proper and solid base for a re-structured financial plan. ' ,
Great cultural institutions are known for their artistic quality, their great leadership and, their
uncommon 'support. The absence of one will undermine the success of the, others. With the
leadership and ~sistance of those being invited to suppot:t the articulated case for securing the
future, The Florida Orchestra will sustain its growth, protect its future, and ensure excellence,
,in artistry and management.
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This plan describes in numerical terms the past, present,and
future financial activities of The Florida Orchestra. It
addresses debt accumulation, debt reduction, cash flow, and
fund balancing. The period' of time it addresses includes
the two'past years, the current year and four years out. It
"demonstrates a balanced budget and total debt elimination
as achievable goals. Considering the institution's
inability to contr?l expenses and raise sufficient income
over the past 10 years, 'credibility'has been the watch word
'in constructing this plan.
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,We believe the budget represents a truly conservative,
balanced picture that restrains growth, yetmai~tains the
orchestra's integrity. ,A new and reason~ble'labor
agreement, the recent past furid raising- and' earned.~ncome
'lncreases, identified new sources ,of income, ,more
professional managers, and a renewed' dedication of the Board
are all factors that bolster our belief that this plan will
bring more credible days for The Florida Orchestra.
It should be noted that the projection of new revenues in
this plan is estimated to be decreasing over time,
'anticipating an initial growth based on ,the most recent.
fiscal period, and then declining in the remaining 4 years.
Many of our ~anagers (Marketing, Developm~~t, Operations,
etc.); who designed this plan have been involved with
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,believing in the Orchestra's ability to facilitate this plan
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prof~ssiC;;nal qrchestra' :in the Tampa Bay area, and, because
.ofthe support the community h~srepeatedly demonstrated.
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1
DEPT REDUCTION PLAN SUMMARY
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THE FLORIDA ORCHESTRA, INC
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DEBT. REDUCTION PLAN
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SUMMARY "
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1. Arbitration award $ 447K 3 Yr budget FYE 96
2, Bank loan-Barnett 1.100K 10 Yr budget FYE 04
3, Accounts Payable .SOOK 2 Yr Special Fd FYE 95 , ;
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4. Deferred Income'spent 1,SOOK ,1 Yr Board CRF FYE 94
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, THE FLORIDA ORCHESTRA, INC
5 YEAR.Pu\N
ASSUMPTIONS
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INCOME: .
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Earned Income '
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-Increase 5% per year 5195-5/98
-Assumes per1erred halt'dates and times
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'Contrlbuted income
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-FYE 5/95 inerensed 15%.
FYE 5/96-5/98 increased by 5%
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Other income..:.lnkind
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Musicians salary
-FYE 5194-5)96 based on anticipated musician
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'-FY'E 5i97 add~ sal ari~s and arbitration p~id'
FYE 96 plus 5%,
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-FYE 5/98 added 5%, '
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-No inc~e?Ses FYE 5195. FYE 5196
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-5% inerea'iseS FYE 5197.5/98
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-;-Increase by ?,K FYE 5195
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-5% Increase FYE 5197.5f98.
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Support expenses
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-FYE 5196-:5198 rllaintain costs b3Sed
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INDOWMENT INCOME
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/,ddllions, in rYE 5/fJ7 .$500 k, FYE 5/96 $1.,OOOlf'. .
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THJ= FLORIDA ORCHESTRA, INC
CASH FLOW 5 YEAR PLAN
FYE 5/94-5/98
, ,
/WI' ^^ 135 Ilockbl
I7-AU&-9J
06:'26 PM
^ n C 0 B
3S week 36 week 37 week 31 week 37 week
Budgel Plan Plan Plan Plan
FYB 5/94 FYES/9S FYB 5/96 FYE 5f97 FYES/98
.,
INFLOW
CASH FROM OPERATIONS ,
nxCe5S(D!!FICIENCY) fROM OPCRATIO;~ . ri/:<v'~p~rH?f.~"$i~""9:534;;"':"<;~"'1<513'54.%'&~~F1'22\82;fi~i281962
,DSroRB PA ~ ~p ARIlITRATlON ^ ARD ",)51,. .1MeJ!:$,..gm.",. .~.,..JiW':?,.......,,",,,,,, ",mm1i, ...".. ..,.....1C,Wlt"....".. ..'""...
ADJUSTMENTS TO RECONClLE
DEPRECIATION
o
12,075
6,262
11,500
o
TOTALCASH FROM OPERATIONS
F'~ :\1atr68;f<:::"""~46j"'6'b9'';',f;~:;':'3tjf;'6'~f(fk::'(':'':':-<Y2'2''t3'2'f'>'Y,~~";128"9'62
~f~~~~.~!-:~.~. ,....~i,.... ,..: .;~~ft~:':-:......:..;i.... ......}~~~~._. .~~L~ ......:..;i~;~j~~:~f:. ...... ~...... :.:..:.:::;:i~~::.. ." .... ..... . ~
ENDOWMENT lNeOME TRANSFER
n,ooo
92,500
118,200, 159,450
98,200
SPECIAL ACCOUNTS PAYABLE FUND ~')/{~:$~Q:Q~QJ)JJt2L,g$.9~9.Q'p.::WE1.r:UfJwjp.Ei?~:{t~~W1h~rl{{9ilXWJB:UJiCQ;
CASH RESERVE FUND
1,500,000 1,500,000 1,500,000 1,500,000 1,500,000
1,965,681 2,244.109 1,919,816 1.741.021 '1,788,412
TOTAL INFLOWS
OUTFLOW:
A.1l:#mo;iiq'f{~wMb1'.,'i(T?:,...:' >::;"1'. :,::: .-:'(:;;/~>t~3';'~@<~~i,': i'~fA9.9~3\~E~:34~6.~,~,~/~)};P;(~{H:F.:.:'q '..<.:::: ;,.'~/};<'.P:'6'
LOANS
225,000
100,000 . 100,000
100,000
100,000
~cc6:tiN:T.8.'f^ :x~iE\~~;~i,':\q;"::':i\'!>I;:(;:':,::;:,.;,:/ :~J5())j.9ci?: ':' .:..: ',-1' $q::99.9{fYW\>~)r:;;~::~)';J!~i.fi!:i:'t:;:i.:~/;':::O ','/:f;:. ;~(:;,~,>.'<O
DUE FROM OPER-ENDOWMENT
o
47000
340,924
80,340
. 10,000
\
,
QYE:FROi{oi,'ER:; CASlf~rlS'E'l{YE~ FD ..~.. ."):;:~':Yr~;::<'q:::;":::'." '::{.:'C ~'::.(f:7':"~::::"/~':6~66.'T'~~':>'."1#()";ob'C(':.>''~\071'18
.~
DEFERRED INCOME SPENT
1,500,000 ,1,500,000 1,500,000 1,500,000 1,500,000
1,953,348 2,235,023 1,918,644 1,740,000 1,754,'118
TOTAL OUTFLOW
CASH INFLOW +( ) OUTFLOW
12,333 9,086
1,172
1,021
34,294
CASH BEGINNING
(12,171) , 162
162. 9,248
45.736
9,248
10,420
11 ,441
CASU ENDING
10.420
11,441
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Tl4! FLOIllOA. OIlClll,STRA INC .- I"'I~
FOR!CMTCO DAtANce SIt';ET ..u'" ,,_.W
FYE 5,9.4 ":5/110 It . e D ~ . G H r k
IT ^ T1:).(!'.Hf srATDmHT srATDtI!Ht IT ATD(IltlT IT ATl!MI!NI'
VfDOIO O~CoUIl 1I.Kt)!NO Of' CoUll DroDlO Of' CA.SII ItHDlNO Ol'CoUIl EtlOIIIO OPCA.SII I!IIOIHO
IW.AtCI! "-OW ~ ft.OW 1IAlJ,t<<Z Pl.OW BAlJ.IoIal f'l,DW I\AU.I<<E now BALt,1Q1
1'\1! "..., f'Y~ P'\'1lS1'J4 PYKlJj P1'Il "" py,,... P'\'1l~ Py K/f1 Pm "'" 1'Yt'l1'1l rm"""
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ASSI!TS '
r~t{W:m,r%fg$*(.~><'Wi0::U;!'1T.~i::U{,'~.mw-41~m't:IDM~!4,20,!l~~.w..5?r~..1~;H%r1!!;~:Nnl;ii1~tWt,;m(.~:~HtW:~:mw.t'f~.r;,'I.~
tu:OOBMC $7,7N 0 3S1,77U 0 :JS177D $777ll :JS7 77U . :IS1:ng
r-:...........-.;I)..~,:........^'.....~"'~....'JoY.c'~Y..........,....~........~........"'..,.........:y?.~~...~'~_y.fN...-'....".-",/,N...n".~'"i~......;Jo...,...NY..N.....,..~~?....,."...W..~T~~~W~y...-I.-:=<<I!~,A'Y..I.~:'-:'l->r;.:~~.,..m~...~......."';)..........v
j:;ftiIl.AUi.~,;tKrm~,\mti.'iii!.<!;it~15j:~~0;:m't,';(4ilJ>>~@fI'~le.fr~"tM!,mr;:9.MM.~$1 OlI'!'.'mi:~IN~U.t:d~~'~~~.I"%;;~*;.':d-{,;>.k~~J.R,\D.iAA~*,xi#;'M;iidlil'AIo
~~'~n:l;>>",.r:r"",,~,,:f;~W;,'$W~~J..':!~r~V:.ig9L<<1~Jl!?n.,...<((:Jt~Cl~:r~~n"}!~;'I$,~"J~~1'!;:'f.~~~"'f.;.~O$~.;:r.t;w.t.'~"::<(~;;;;<;^O'~&7.V~ir,W~mr,,,~,!~~
:,otllll"\,\*,;S;:r~f.'M,::;;;;,r<ki>4@Y..u\",.$3a~;':m;:<<~~::>:O#fu:;:;tQ~ ~r.::g.;~hl<':O..<l'~i;:;JrJ"...~.'H.,>>.nJ.ir0.u#;;;;"_i>::;""'Ml;,:~" ,;~:"'M -~"*.",,M<:;f.,,:::r.~~>~~.O;:';&
TO!',AI" ASIIJrs
537 1105
an 5311 72!1
S35 7:lO
53011-411
1021
s:lo 1 1Sl0
54SS gas
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LlABILtIJllS .
&i.r1111~.iQii:iiiiii\\i.mw;AtO;~\;illl60t.;)o':WM~~*{ioo:iPil~;#c.:rfX;?;~mU>EJg~%$tt~W}},*iiiiOO.jj~mtm,t.;.*J~~~
Dltn!ll.al!DnCXErIU1V1!HU1! 1,17<1,7<15 0 1,17<1,7<15 0 1.17<1,7<15 1,17<1,7<15' 1.17<1,7<15 . 1,17<1.7<15
WiJw~~15tNWftr0',t@7tO~WiM)fif,*~:mJhljC!~tw~A't~wm~.1~!l:?it;rt~.tl(lO)':0:{2S!~i1~.C:Ft:+'1~:nr:~J$'l;":a~mr~,t~!I.'Hm~'~1#l'
HOT!SPAYAIIlJ! 1,225,000 (22S1XXIl 1.000,000 (t00,(lOO) goo.ooo (100,110O) eoo,ooo -10??oo 700,000. -10??oo 600,01)()
TOT..... UAIlIUTIIU
3,1I2Il,243 3
111
111
ll6ll
"""000
II 160 1111
111<I000 2
3
000 <I
Ot'l!RA'1l0H-EOtJnY
716 1
1711 1110 1113O,lJ70 2<111121 1 11117 0 lQ04 <112 1503,2M
5lI7 035
117
::I l)g1
375 l\.33
TOT..... UAIlIUTml III !!QUI
II
l\.33
1 1121
3"1,2!M
o
II
311
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II
CASH n SEJWE FUNOS
ASSl:.TS .
~~y')?,;-ur::.:.\(j !"~;:;'-':::;':<.".. ..>:;::;,'L, 1175. <.1.500.ooo?::'.;i500:a7il~;;,UiJ;iXf.l~i/i~j ,''pxJ;t;iS::::.::, .'., :.3.e<<i; ;\.1~',335. "::,130:000 ,,/;:, ~~5'\:'<'07 ,,',11 >.:.: ;:1;7<1'~~'53
DUSnDMOI'f.MTIO/lS .2~O,nll 0 240,778 0 240,778 (3,600) 237,118 (1:10.000) 107,110 (107,lIe) 0
TOTAL AllIIn
2<11 <153 '500
o 1 7<11 <15:1
1 7<11 0<153
o 1 7<11 0<153
o 1 741
o 17<11 53
UABIUTlBS '
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NO'I1l ....'I'AIlU! . 20,000 20.000 20.000 20,000 20.000' 2O,0I)(J
TOTALUA8IUTIES
201121
1121
o
o
20 1121
o
20 1121
o
1121
o
CRF-EQ1Jrn'
220.532 1,500.000 1 720
01720
o 1 720 2
o 1,720,532
o 1,720
ENDOWMENT
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ITOTAL EQUITY
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3,009,153
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Tim. FLORIDA ORCHESTRA. INC.,
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TABLE OF CONTENTS
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INDEPENDENT AUDITORS"REPORT
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,FINANCIAL ,~TATE~NTS:.'
'Balance Sheets
"statemElnts',o'f. Revenue, Expenses, capital' Additions'
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SUPPLEMENTARY INFORMATION:
Schedule of Federal/Financial Assistance
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Report ori'Compliance With Specific Requirements
Applicable to Non Major Federal Financial
Assi~tance programs
. Report on Compliance' With General 'Requirements'
,App~ic~ble'to Federa~ Financial Assistance prog~ams
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IOIlN c. ROBIRlS
WM. OOUG~ STMrORO
""-ILl, HRLlv..
ROBERT E, \IUOlS, lIt
MARliN E: BOWKER
J, ROBERl lANE
WILLIAM ,. HRUl" IR.
CERALD P. CICLlA
RlX MEIGHEN IW'2.l97~1
WM. II. STAfFORD 11909.\9171
JOliN K. MllUR n91S.19m
REX MEIGHEN & COMPANY
CERTIFIED PUBLIC ACCOUNTANTS
509 5. HYDE I}\RK AVENUE
POST OFFICE BOX ,1790, TAMPA. FL 33601-1790
(Bill 25' .1010 . fAX 18131 25'.9235
RETIRED;
ROBERT E. ""'LOts n98l1J
MARK W. [ASl'lANo. IR. 119891
M.R. MEIGHEN lI9S91
rRED F. lADO 119891
HAROLD C, CIBSON 119921
INDEPENDENT AUDITORS. REPORT
To the Board of Trustees
The Florida orchestra, Inc~
Tampa, Florida
We have audited the balance sheet of The Florida Orchestra, Inc. (the Orchestra)
as of May 31, 1992, and the related statements of revenue, expenses, capital additions,
and changes in fund balances and cash flows for the year then ended. These financial
statements are the responsibility of the Orchestra's management. Our responsibility
is to express an opinion on these financial statements, based on our audit. The
financial statements of The Florida Orchestra, Inc. as of May 31, 1991, were audited
by other auditors whose report dated August 9, 1991, on those statements included an
explanatory paragraph that described the financial statements were prepared assuming
that the Orchestra will continue as a going concern as discussed in Note 2 to the
financial statements. '
,
We conducted our audit in accordance with generally accepted auditing standards.
Those standards require that we plan and perform the audit to obtain reasonable
assurance about whether the financial statements are free of material misstatement.
An audit includes examining, on a test basis, evidence supporting the amounts and
disclosures in the financial statements. An audit also includes assessing the
accounting prinCiples used and significant estimates made by management, as well as
evaluating the overall financial statement presentation. We believe that our audit
provides a reasonable basis for our opinion.
In our opinion, the May 31, 1992 financial statements referred to above present
fairly, in all material respects, the financial position of The Florida Orchestra, Inc.
as of May 31, 1992, and the results of its operations and its cash flowa for the year
then ended in conformity with generally accepted accounting principles. . .
The accompanying financial statements have been prepared assuming that the
Orchestra will continue as a going concern. As discussed in Note 2 to the financial
statements, the Orchestra has suffered recurring losses from operations and has a net
capital deficiency that raises substantial doubt about its ability to continue as a
going concern. Management's plans in regard to these matters are also described in
Note 2., The financial statements do not include any ndjustments that might result from
the outcome of this uncertainty.
Our audit was conducted for the purpose of forming an opinion on the basic
" . financial statements taken as a whole. The. supplemental schedule of federal financial
assistance is presented for purposes of additional analysis and is not a required part
of the basic financial statements. Such information has been subjected to the auditing
procedures applied to the basic financial statements and, in our opinion, is fairly
stated in all material respects in relation to the basic financial statements taken as
a whole. '
K.J-/, ''7?J o?-"</lv~ >- ~.....p~, '--J
Certified PUbUic Accountant~ ~
Tampa, Florida
August 5, 1992
1
MIMII[Il~ A",lRIC/lN INSllTUH Of CIRllIllD l'UUlIC ACCOUNtANlS' nOlllOA INSllTUU OJ CrIlTlrlfO PUBUC ACCOUNTANlS
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THE FLORIDA ORCIIESTRA. INC.
NOTES TO FINANCIAL STATEMENTS
MAY 31. 1992
Note 1 - Summary of Sianificant Accountina Policies
Organization:
The Florida Orchestra, Inc. (the Orchestra) is a Florida not~for-profit corporation
orq6nized to administer and sponsor the Florida Orchestra as a community educational
facility and to obtain supplemental supporting funds, over and above operating
incomo, required for such operations. The financial statements include all funds
available to, or accruing to the benefit of the orchestra, including those of the
Tampa and st. petersburg Guilds (the Guilds), which are organizations providing
auxiliary revenues and services solely for the Orchestra.
Fund Accounting:
To ensure observance of limitations and restrictions placed on resources available
to the Orchestra, the financial statements are prepared on a fund accounting basis.
Accordingly, resources are reported in fund groupings that have similar
characteristics.
Operatinq Fund includes those funds that may be used in support of current
operations of the Orchestra. '
cash Reserve Fund includes funds that are subject to restrictions which may be
used by the Operating Fund to support the operations' of the Orchestra in the form
of loans from the Cash Reserve Fund to the Operating Fund. Administrative costa
incurred in obtaining Cash Reserve pledges may be applied against the corpus.
Endowment Fund includes those funds that are subject to restrictions whereby the
donor has stipulated that the principal and certain capital gaine are to be
maintained in perpetuity and only the income from the investment of ,the funds may
be expended. Administrative costo incurred in obtaining endowment pledges,
however, may be applied against the corpus. .
At May 31, 1992, loans from the Endowment Fund and the Cash Reserve Fund amounted to
$368,293 and $161,228, respectively. At May 31, 1991, loans from the Endowment Fund
to the Operating Fund amounted to $256,561. As it is the intention of management
to repay these loans, the amounts are reflected in the accompanying financial
statements as loans from the respective funds rather than transfers to the Operating
Fund.
Basis of Accounting:
The Operating, Cash Reserve and Endowment Funds follow the accrual basis of
accounting. Under this basis, revenues are recognized in the period earned and
expenses are recognized in the period incurred. Revenues from ticket sales and
program advertising are recognized upon performance of the related program. Revenues
from advance ticket sales for future season concerts are deferred and recorded as
income during the applicable season. Funding received under the terms of grants from
federal, state and local government units is recognized as revenue during the period
specified by the ,grantor or when expenditures to be reimbursed under the terms of the
grant agreement are incurred. Pledges are recognized upon receipt, as these pledges
are not legally enforceable.
Investments:
At May 31, 1992 and 1991 investments are carried at amortized cost which approximates
market. Gains and losses realized on the sale of investments are determined using
the specific identification method.
5
REX MEIGHEN & COMPANY
CIRllrl10 PUlIllC A(COUN14N1S
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THE FLORIDA ORCHESTRA. INC.,
NOTES TO FINANCIAL STATEMENTS
MAY 31, 1992
Note 1 - Summary of siqniflcant Accountlno Policies (continued)
Furniture and Equipment:
Furniture and equipment purchased by the Orchestra are rec9rded at cost as,acquired.
contributed items are recorded at estimated fair market value at the time of
contribution. Furniture and equipment are depreciated cn a straight-line basis over
estimated useful lives of five to ten years. Automobiles and trucka are depreciated
on a straight-line basis over estimated usofullives of three to five years.
The cost and accumulated depreciation of furniture, and equipment retired or sold are
removed from the accounts upon disposition and any difference is credited or charged
against income.
Contributed Services and Materials:
Contributed services and materials, if significant in amount, are recorded at their
fair market value provided the donor has a clearly measurable and objective basis, for
determining their value. No value ia assigned to other donated items ,if there is no
ascertainable basis for assigning the value. Contributed services are reported as
support and an expense as of the date of the contribution. 'Contributed materials are
reported as support and either an expense or are capitalized as fixed assets
depending on the nature of the item contributed. Contributed services which would
not have been performed by salaried personnel if contributed services were not
available are not,recognized in the accompanying financial statements.
Reclassification:
Certain May 31, 1991 balances have been reclassified in order to conform with the May
31, 1992 presentation. The reclassifications have no effect on previOUSly reported
results from current endeavors.
" ,
Note 2 - Basis of Presentation
The financial' statements have been prepared on a basis that contemplates continued
existence, realization of assets and satisfaction of liabilities 'in the ordinary course
of business. However, the Orchestra has ,continued to encounter' operating and liquidity
problems that indicate that the Orchestra may be unable to continue in existence.
The Orchestra had a total operating fund deficit at May 31~ 1992 of $2,952,376. The
Operating Fund incurred a deficiency from current endeavors during the fiscal year
ended May 31, 1992 of $743,575. '
Management.s plans for reduction of the operating fund deficit include implementation
of the fo~lowing actions during fiscal year 1~93:
Increased marketing campaign to generate an increase in ticket sales.
Increased effort by the development department to generate revenue from special
events through expansion and added events.
Continued reduction or contain~ent of operating expenditures.
6
REX MEIGHEN & COMPANY
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THE FLORIDA ORCHESTRA. INC.
NOTES TO FINANCIAL STATEMENTS,
MAY 31. 1992
Note 2 - Baaia of Presentation (continued)
Management believes the ouccassful implementation of the orches~r~' s businesB plan will
reduce the operating fund deficit; however, the ultimate outcome cannot presently be
determined. The financial statements do not include any adjustments that might result
from the outcome of this uncertainly.
Note 3 - Furnitu~e and Eauioment
A summary of depreciable assets as of May 31, 1992 and,1991 follows:
Furniture and Equipment
Vehicles
Sound System
Musical Equipment
Less Accumulated Depreciation
'1992
$,100,894
32,851
33,166
18.155
185,666
(163.964)
S 21. 702
1991
$ 93,228
31,811
33,166
18.755
176,960'
1156.082)
S 20.878
, ,
Depreciation' charged to operations amounted to $7,883 and $17,433 for the years ended
May 31, 1992 and 1991, respectively.
ct......:;
Note 4 - Notes Payable
Notes payable at May 31, 1992 and 1991 include amounts due to banks and variouo other
lenders as summarized below:
1992
, 1991
$300,000 line of credit, Que July 31,
1991, interest at prime plus 1%, payable
monthly, collateralized with aasignment
of admissions, fees.
s
S 300,000
$400,000 line of credit, due september 1,
1992,. with interest at prime plus ~\,
payable monthly, collaterali~ed with,
assignment of admission fees and Bubstan-
, tially all "endowment fund assets '
$800,000 line of credit, due september 1,
'1992, with interest of prime plus ~\,
payable monthly, collateralized with
assignment of admission fees and substan-
tially all endowmdnt fund assets;
400,000
400,000,
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800,000
800,000
7
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THE FLORIDA 'ORCHESTRA, INC,
NOTES TO FINANCIAL STATEMENTS .
MAY :31, 1992
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~o~e 4 - Notes Payable (Continued)
1992
1991
Due June 29,' 1992, interest at prime plus
~" unsecured.. Payable to a member of t~e
Orchestra Board of Trustees.
" Due June 1; 1992, interest at 6\, unsecured.
'payable to a member of the orchestra' Board
of Trustees.
$
50,000'
,$
50..000
:",
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$1.. 300,000
$1,500..000
, ,
, Interest expense was approximately $121,000 and $145,000 in 1992 and 1991,
respectively. Cash interest paid was approximately $115,000 'and $132,000 in 1992 and
.1991, 'respectively.
The prime interest rate at Hay 31, 1992 was 6.5\.
Note 5 - Oneratina Leases'
The company leases its office facilities and certain of its equipment under operating
leases which expire in various years through 1995.
Rental expense charged to operations was app~oximately $48,000 in 1992 and $36,000 in
'1991. '
Future minimum, rental conunitments under these noncancellable operating leases are
approximately as follo~s:
Year Ending May 31,
1993
1994
S 57,000
57,000
Total Minimum Lease Payments
$114,00q
Note 6 - Emplovee Retirement Benefits
Effective April' 1, 1989, the Orchestra established a tax deferred annuity' plan,
qualified under Section403(b) of the Internal Revenue code,' covering all salaFied
employees.' The plan requires employer, contributions ,of 3\ of covered employees' base
compensation and allows employee contributions through salary reductions, subject to
certain restrictions. Effective April 1, 1992, the plan provided for employer
contributions of'4\. Employer contributions during 1992 and 1991 were approximately
$70,045 and $41,000,' respectively.
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Note 7
Income Taxes
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.The Orchestra is exempt from income taxes' under section 501(c) (3) of the 'Internal
Revenue COde and related Chapter ~OO of ~he Florid~ statutes. .
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The Internal Revenue code provides for taxation of unrelated business income under
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'Note 8
Related P.artv Transactions
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During 1992, the Orchestra borrowed $100,000 from two members of the Board of Trustees
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SCHEDULEOF'FEDERAL FINANCIAL ASSISTANCE
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AWL I. JERUTA
ROBERT [, "'LOU, IIi.
MARTlN Eo BOWKER
I, ROBERT lANE
WILLIAM I, rERLIlA, Ill.
GERALD r. GICLIA
REX MEICIlEN 11892.19161
WM. Ii. STAFroRO 0909.19111
JOHN to:. MllUR 0915.'9771
REX MEIGHEN & COMPANY
CERTIFIED PUBLIC ACCOUNTANTS
S09 S. HYDE A<\RK AVENUE
POST OFFICE BOX 1790, TAMPA, FL 33601-1790
(813) 251-1010 - fAX (6131 251 -9235
RmRED:
ROlIERT t. '''\lOES 0988)
MARK W. fASTlAND, Ill. 091191
M.R. MEICHEN 0989j
FRED f. !.ADO 0989'
HAROLO C. CIBSON (19921
REPORT ON COMPLIANCE WITH SPECIFIC REQUIREMENTS
APPLICABLE TO NON MAJOR FEDERAL FINANCIAL ASSISTANCE PROG~
The Board of Trustees
The Florida orchestra, 'Inc.
Tnmpa, Florida
We have audited the financial statements of the, Florida Orchestra, Inc. as of and
for the, year ended May 31, '1992 and have ,issued our report thereon dated August 5,
1992. .
,
, We have also audited The Florida Orchestra, ,Inc.'s compliance with the
requirements governing types of services allowed or unallowed" matching, reporting,
claims for advances and reimbursements, and labor standards on projects or productions
assisted by grants from the National Endowment for the Arts (NEAl applicable to Grant
Number 90-3125-0434 from the NEA, which is identified in the accompanying echedule of
federal financial aesistance for the year ended May 31, 1992. The management of The
Florida orchestra, Inc. (the Orchestra) is responsible for. the orchestra's compliance
with those requirements. Our,responoibility is to express an opinion on compliance
with those 'requirements based on our audi~.
We conducted our audit in accordance with generally accepted auditing standards
and Government Aud~ting Standards, issued by the Comptroller General of the United
States. Those standards require that we plan and perform the audj"t to obtain
reasonable assurance about whether material noncompliance with the requirements
referred to above occurred. An audit includes examining, on a test basis, evidence
about the Orchestra's compliance with thoee requirements. We believe that our audit
provides a reasonable baois ~or our opinion.
In'our opinion, the Orchestra complied, in all ,material respects, with the
requirements governing types of services allowed or unallowed, matching, reporting,
claims for advances and reimburoements, and labor standards on projects or prOductions
assisted by grants from the NEA that are applicable to Grant Number 90-3125-0434 from
the NEA,for the year ended May 31, 1992. '
This report is intended for the information of the Board of Trustees, management,
and the National Endowment for the ArtlJ ~ This is not intended to limit the
distribution of this report,' which is a matter of public record.
, /:) .--j/);1' I c: /'
k.:;-{ / I / ~-( 5 /1._ ;' ~-n......)') I''h ""-.
Certified puelic Accountants ____~
. Tampa, Florida
August 5, 1992
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Mhl.ll(~ "'MlMlo.IIIIN~U1Ull ~1I ClNIIIUl) I'tJIIllC N;(OUNI"NIS' 1l0~tllo\ INMllun Of ([1111111'0 "UBlIC. ACCOUN'^NTS
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WM. DOOClAS swrORO'
w.u~ " m:l1TA
WBERT L '-lLDES, lit.
M:'-llT1N L IIOWKtR ,
I- waERT lANE
WILLIAM ~ rERUlA, 1R.
GERA~D P. GICllA
, ROt MEIGH[N 0~91.191ftJ
WM. Ii, ~rrORD "m.l97"
JOHN IC.. MILLER /l'JI5,19711
REX MEIGHEN & COMPANY
CERTIFIED PUBUC ACCOUNTANTS
S09 S, HYDE PARK AVENUE
POST'OFFICE BOX 1790, TAMA-\, FL 33601-1790
18JJl 251.1010 - fN( 1813) 251-9235
RETIRED:
ROBERT Eo W,lDES "911111
'MARK W. EASTlAND, 'R. 119M)
M,R. MEIGHEN 09091
rRED F.lAOO 091191
H^ROLD G. ClllSON (19921
REPORT ON COMPLIANCE WITH GENERAL REQUIREMENTS
APPLICABLE'TO FEDERAL FINANCIAL ASSISTANCE P~OGRAM
The Board of Trustees
The Florida Orchestra, Inc.
Tampa, Florida
. ",
We have audited the financial statements of the Florida Orchestra, Inc. as of and
for the year ended Hay 31, 1992, and have issued our report thereon dated Auguot 5,
1992.
We have applied procedures to teat The Florida orchestra, Inc.is compliance with
the fOllowing requirements 'applicable to Grant Number 90-3125-0434 from the National
Endowment for the Arts, which is identified in the schedule of federal financial
assistance for the year ended Hay 31, 1992: political activity, civil rights, federal
financial repOrts, allowable cost/cost principles, and drug-free workplace.
, Our procedures were limited to the applicable proc~dures described in the Office
of HanBgernent and ,Budget's Compliance Supplement for single Audits ,of State and Local
Governments. Our procedures were substantially, less in scope than an audit, the
objective of which is the expression of an opinion, on The Florida Orcheotra,Inc.'s
compliance with the requirements listed in the preceding paragraph. Accordingly, we
do not express such an opinion. .
With respect to the items tested,' the results of those procedures disclosed no
material instances of, noncompliance with the requirements listed in the' second
paragraph of thie report. With respect to items not tested, nothing came to our
at~~ntion that caused us to believe that the Florida orchestra, Inc. had ,not complied,
in,all material respects, with those requirements. '
This report is intended for the information of the Board of Trustees, 'management,
and the National Endowment for the Arts. This is not, intended to limit the
distribution of this report, which is a matter of' public record.
K..y. n7"..J..... f: ~/~__".
certified ;~~~~ Accountants , ~
Tampa, Florida
,August 5, ,1992
12
MrMnlll~: .A.MlIlICA"" INsmuu or C(llllllm l'UlIlIC ...cCOUNIAN1S' BOIlUM INSlITUn 01 CIRIIII[O NUllC /lCCOUN1IIN1S'
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THE FLORIDA ORCHESTRA, INC.
, JAlUA LING, Music Directo~
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ev:dcnced to data cr \'1m conform to those ;:licjlo:::;<2d in YOll: rutinQ a,plie:olion. \'Ie h~vc concluded
that you ore exempt (rom Fecerclincome tex as an e.gcr:i~lJt,ion desc;ic~d In ~e=l1on SOl(cJP) or
the Internal R~ven\:a Cede. Any changes in OJ.~r= tion fr~m those da::cribed. or in ycer d:::r::c:la.
or purposes. must be reporled irr.nl~dioteli' to ycu. Di::trict Director (or constdcrclion ef th~i. effect
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Y~u ~re not rcqu'ired to 'file Federal hi~om~ tc:c r~tl.!l'ns :so lonq ~3 \,'6u relain an exempl st::tus, cr,~
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Wing the cnnL.'al InCa.moUon telcrn, Form SSO-A. Is sat ferth cb:J'IE:.' Thol return. H required.. mc.st
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ContrtbuHons rr,cde to you ere deducti~le b'l don~rs cs pro'ltc~d ii\ section 170 of lh~ Co:e, Bc~
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You nra not liable (or the lu;.co:; Impo:ed under lhe Fed~rallnstl:.incE: ContcibulLc:ns Act (sedc! '
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'oot liable [or the'la::: Impo~ed under, the FEdo!ral Uner;.plo'{i':':enl,Tax Acl. Inc;uirics cbuttr.e woive:
'or exemptlon c,crtlHccle [e. sodal s~cudt'l taxes :should l:~ cdd:;!::;:;;:c to lhls oHice. 0:0 should c:'.,/
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,Dat.e:
.Septewoer 3, 1587
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THE FLORIDA ORCHESTRA, INC.
JAlIJA LING, Music Director
MISSION STATEMENT
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MISSION STATEMENT
. The primary purpose' of The Florida "Orchestra
is to' bring enjoy,ment and rewards of, great'
music. to increasing numbers of citizens 'of the
Tampa Bay area and Florida. To this end, the
Corporation will administer and sponsor an
orchestra of the highest quality. Its objectives
will be to offer a full range of concerts and
performances of music of artistic, excellence. It
will work with educational institutions at all
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, opinion of the Board of Trustees will enrich its
services to the ar<?a, the st~te and the region.
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JAHJA LING, Music Director
BOARD ,OF TRUSTEE LISTING
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, Music Director
SkHch Henderson
Pop- MUlle DirtClor
Irwin Hof(man
Mualc:DirmDl' Lau~'t
1993-1994 BOARD OF TRUSTEES
Mrs. Jane Peppard, Chainnao
The TUnes
Mr. William C. Ballard, Esq., Treasurer
, Fisher and Saufr, P,A. ' ,
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Mr. Jerry T. Kendall, Vice Chainnan
for Internal Relations
: Securfty Tag Systems
Senator Helen Gordon Davis, Secretary'
Tampa
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Mr. Michael J. Zagorac, Jr., Vice
Chairman for External Relations
Hill and Knowlton, Inc.
Mr. J obn L. Hyer, President & CEO
The Florida Orchestra, Inc.
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Mr. Joseph Abnwams
'City of Tampa
Mr. Bernard Drewery
USAir
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Mr. Barry M. Alpert
Robert W. Baird & Co., Inc,
Mr. Jack B. Eidelman
St. Petersburg
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Mr. John Bannon
Vze Florida Orchestra Musicians'
Association
: Mrs. Adela Gonzmart
Columbia Restaurants, Inc.
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Dr. Susan B. Betzer, M.D.
St,Petersburg
Mr. & Mrs. Andrew Greenuerg.
Andrew Greenberg, Inc,
Mrs. Maria P. Cantoni5
Belleair
Mr. Timothy, Guzzle
TEeO Energy, Incorporated
Mr. James V. Carideo, lliq.
GTE Florida
Mr. David B. Harrison
St. Petersburg
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Mrs. Barbara Cowan
VIe Florida Orchestra Guild of
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Mrs. Marcia Hoffman
Cleanvafer
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Mr. Homer Hool\5, &q.
T~le Hooks Group, Inc.
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A COI'Y 0' 1I1[ Ot'lCIAl Illlll1lllATIOH AHO ,.,.,H.c:lAlIHI OIl"A llOH "AY lIt OIlTA.,.CO (flQ" HIC IIIWSIOH or COHlu..en lifllYlCCIi IIV CAI,UIlQ TOll '11[[ "_-4)~.nu WITHIH Tile nAT[.
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THE FLORIDA ORCHESTRA, INC.
JAHJA LING, Music Director
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KEY ARTISTIC AND ADMINISTRATIVE BIOS
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JAHJA LJN:G
Music Director
The 1992R93 season mades Jahja Ling's fifth season as Music Director of The Florida Orchestra,
his eighth season as Resident Conductor of The Cleveland Orchestra and his seventh season as
founding Music Director of the Cleveland Orchestm Youth Orchestra. His performances with
these ensembles and as guest conductor throughout the United States and abroad have earned him
a reputation for insightful and highly expressive interpretations.
Tampa Bay enthusiastically opened its arms to this dynamic young conductor in his 1988"89
season debut with The Florida Orchestra, His first year as the Orchestra's Music Director was
greeted with critical acclaim and tremendous public response. At the close of that season he was
presented with city proclamations from th'e mayors of Clearwater, Tampa and St. Petersburg and
was awarded the keys to those cities. Since then he has continued to enrich the cultural life of
. the area by bringing the best of world-class music making to the Bay communities,
Jahja Ling made his Cleveland Orchestm subscription concerts debut in January 1985 to great
, acclaim from press and public and since then has led the Orchestra on numerous occasions. On
July 3, 1990 he led the Orchestra in its first concert on Public Square in downtown Cleveland,
before an audience of 85,000 which thereafter became an annual event for the Cleveland
community. In July of 1991, Mr Ling, inaugurated the first annual BP/Cleveland
Orchestra/Sunset Concerts at North Coast Harbor which was attended by over 10,000 people,
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Mr. Ling received glowing praises for his recent guest appearances with Tokyo's Yomiuri
Nippon Symphony, Taipei National Symphony, Atlanta, Cincinnati, Detroit, Houston
Symphonies and his prestigious 199 I Chicago Symphony debut among others, In addition to
his regular subscription concerts, he led the Cleveland Orchestra in two additional subscription
weeks, plus four concerts during their spring 1991 East Coast tour in Hartford, New Brunswick,
Wilmington and The Kennedy Center in Washington, D,C, The Washington Post said Ling udid
a sterling job of leading these artists through a reading that was as potent as it was well
manicured. II In the 1992-93 season he will share the East Coast tour of The Cleveland Orchestra
with Pierre Boulez.
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Among the orchestras he has led are those of Atlanta, Baltimore, Boston, Chicago, Cincinnati,
Detroit, Houston, Indianapolis, Minnesota, Montreal, Philadelphia, San Francisco, Seattle,
Taipei, Vancouver, the Gewandhous Orchestra of Leipzig, the Royal Philharmonic, the Tokyo
Yomiuri Nippon Symphony, the Netherlands Radio Philharmonic, the Rochester Philharmonic
and the Hong Kong Philharmonic, With the Saint Paul Chamber Orchestra, he has appeared in
the dual rolc of soloist/conductor as well as piano soloist with The Cleveland Orchestra in the
Grieg Piano Concerto. His recording for Telarc of the Dupre Organ Symphony and the
Rheinberger Organ Concerto, with Michael Murray and the Royal Philharmonic Orchestra, has
received widespread acclaim, In 1989, he collaborated with Rolf Smedvig and the Scottish
, Chamber Orchestra in a recording for Telarc which includes works of Haydn, Hummel, Tartini,
Bellini and Torelli; this recording was nominated for a 1990 Grammy award.
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Upcoming engagements include guest conducting appearances with the Berlin Radio Symphony,
and the symphony orchestras of Colorado, Dallas, Honolulu, Milwaukee, New Jersey, Oregon,
San Antonio, Seattle, and Utah. In January of 1994, Mr. Ling and The Florida Orchestra have
been invited to perform at the Canarias Festival in the Canary Islands,
On Sunday, January 27, 1991, Mr. Ling led the performance of the National Anthem with
Whitney Houston and The Florida Orchestra at Super Bowl XXV before a world-wide television
audience of 750 million. This was the first time a'conductor and symphony orchestra had ever
been invited to perform at a Super Bowl. The release of this performance on compact disc,
video tape and audio cassette has won a gold record award.
Among other major American symphonies, Mr. Ling maintains a close relationship with the San
Francisco Symphony, Between 1981 and 1984, he served as Exxon/Arts Endowment Conductor
'of that ensemble, first as Assistant Conductor and then as Associate Conductor. In addition, he
was the founding music director of the San Francisco Symphony,Youth Orchestra; in 1983, he
and the Youth Orchestra were chosen to perform for the visiting Queen Elizabeth IT of England.
In February 1987, Jahja Ling conducted the inaugural concert of The Cleveland Orchestra Youth
Orchestra--and has now helped shape the work and artistry of this important orchestral training
ensemble through six seasons.
Born in Jakarta, Indonesia~ of Chinese descent, Jahja Ling began to play the piano at the age of
four. At the Jakarta School of Music, he studied with Suzy Djoeandy and t~en with Rudy
Laban. At the age of 17, he won the Jakarta Piano Competition, and a year later he was
awarded a Rockefeller grant to attend the Juilliard School, where he studied piano with
Mieczyslaw Munz and Beveridge Webster--and conducting with John Nelson, After earning a
, master's degree, Ling enrolled in the Yale School of Music doctoral program in orchestral
conducting under Otto-Werner Mueller; he received a doctor of musical arts degree in May
1985. '
In 1977, Mr. Ling won a bronze medal in the Artur Rubinstein International Piano Master
competition in Israel, and a year later a certificate of honor at the Tchaikovsky International
Piano competition in Moscow. In the summer of 1980, 'he was awarded the Leonard Bernstein
Conducting Fellowship at Tanglewood, where he worked with BemsteinJ Colin Davis, Seiji
Ozawa, Andre Previn, Gunther Schuller, and Joseph Silverstein. In 1988, Mr. Ling was one
of three conductors (selected from a field of more than 90 nominees) named a recipient of the
Seaver/National Endowment for the Arts Conductor's Award (the largest of its kind), a career
development grant made to ~merican conductors of extraordinary promise.
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SKITCH HENDERSON
Pops Music Director
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Skitch Henderson has conducted virtually every orchestra in the United states as well as
orchestras in Canada, Europe and Australia, He has accompanied such Hollywood legends as
Judy Garland, Frank Sinatra and Bing Crosby. He was Music Director of the NBC Network'
and directed the music for the "Today" and the "Tonight" shows. Today he is recognized as
the Music Director and founder of The New York Pops--'now celebrating its tenth successful
season at Carnegie Hall. The 1992-93 season represents Skitch' s 8th season as the Pops Music
Director for The Florida Orchestra. He is also the Music Director of The Florida Orchestra
Pops, Virginia Symphony Pops, and the Louisville Orchestra Pops. This extraordinary man is
S1dtch Henderson, and his dramatic list of accomplishments place him among the giants of the
entertainment world,
During his illustrious career, spanning more than five decades, Skitch has found time to work
extensively abroad, with the Royal Philharmonic, the London Symphony, the BBC Symphony,
the North German Radio Symphony Orchestra, the Munich Radio Symphony, the Bavarian
Radio Symphony qrchestra, Radio Diffusion Francais, the Baden-Baden Orchestra, the
Stockholm Opera, the Oslo Philharmonic, the Paris Conservatory Orchestra and the Jerusalem
Symphony. In Australia, he has guest conducted with the Sydney, Melbourne, Brisbane, Perth
and Adelaide Symphony Orchestras, In Canada, he has worked with both the Hamilton and the
Toronto Orchestras and the Windsor Symphony. In the United States, he has worked with the
Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic (at the
Hollywood Bowl), the Atlanta Symphony, the Boston Pops and the New York Philharmonic, as
well as the major orchestras of Minneapolis, Phoenix, Pittsburgh, ROChester, San Diego,
Savannah and Seattle, among others, His ballet Curacao for the Boston Ballet received rave
reviews, and his prolific work on film and TV scores can be heard frequently. At the 15th
Annual International Film Festival in Cannes, Skitch won first prize in the television division
for his original scoring of a television commercial,
Highlights of Skitch's 1992-93 season will include guest appearances with the Cincinnati, Long
Beach (California), Memphis and Oregon Symphonies, Skitch will make his debut in Scotland
this September when he conducts the Glasgow Festival. In addition to directing the Pops
programs of The Florida Orchestra, Skitch will lead The New York Pops on two tours in the
United States: a Southeast tour with stops in major cities in Florida and South Carolina, and
a Midwest tour concentrating on Michigan, Iowa and Illinois. In October, Skitch has even found
. the time to bring his inimitable style to the Russian Tea Room for an intimate cabaret
performance. January 1993 will be a festive time for Skitch: he will be celebrating his 75th
birthday while his brainchild, The New York Pops, enjoys its 10th Anniversary season at
Carnegie Hall. While everyone knows about Skitch~s career as a conductor, not all are aware
of the other aspects of his diverse and interesting background. Born in Birmingham, England,
he studied conducting with Fritz Reiner and Albert Coates and theory with Arnold Schonberg
and Ernest Toch. Skitch got his first big break when he was asked to fill in as Judy Garland's
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accompanist while she was touring with Mickey Rooney. After joining the tour,Skitch moved
on to Hollywood and eventually became part of the music department at MGM. . When World
War II broke out, he flew for both the Royal Air Force and the United States Air Force.
After the war, Skitch toured extensively with Frank' Sinatra and Conducted NBC's "Lucky Strike
Show." He also conducted the "Philco Hour." which gave him the opportunity to work with
Bing Crosby. In fact; it was from Crosby that he 'acquired the nickname USldtch.tt While
working at the NBC Network, Skitch was invited by Arturo Toscanini to conduct the NBC
Symphony. Skitch went ,on to become the 'music, director at NBC, conducting both the
"Tonight" and the "Today" shows. It was there that he introduced the use of serious music in
variety programming. In 1983, Skitch brought ninety of the finest fr~lance musicians together
at Carnegie Hall and The New York Pops was born. The Pops annual series of concerts at
Carnegie Hall are always sold out, helping to establish Skitch and the Pops' as a New York
'institution. The New York Pops is one of the only symphonic pops orchestras in the country
that exists independent of a larger orchestral organization.
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A' plan of many talents, Skitch is also a celebrated cook. His wife Ruth' owns and operates The
Silo, Inc~, located in New Milford, Connecticut. 'This world renowned store, art gallery, and
cooking school is now in its twentieth year. In 1990, the Heridersons first lifestyle and
cookbook, Ruth and Skiteh Henderson's 'Seasons in the Country, was published by
Viking/Penguin Studio Books and ,has since been in great demand. A second book, Christmas
in the Country, will be published in the fall of 1993. Both books feature the Henderson's
, favorite recipes accompanied by beautiful photographs of their home and farm. Skitch has
always been an avid fan of flying and he has been known to pilot himself to engagements. After
more than fifty years of performing, Skitch is going strong and is showing no signs of letting
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JOHN L. RYER
President and Chief Executive Officer
John L. Hyer joined The Florida Orchestra as President and CEO in August 1991 and has
ushered in a new era of professionalism and fiscal responsibility. In his first year he ,established .
a Cash Reserve Fund of $900,000 which alleviated the Orchestra's chronic cash flow problems.
He successfully negotiated a new contract for Maestro Jahja Ling and established a Trustee
Development Committee to reorganize the Board of Trustees. Under his guidance, The Florida
Orchestra achieved'the highest subscription ticket sales in its history.
John L. Hyer was born and raised in Dunkirk, Indiana, He received a Bachelor of Science
degree in Music Education from Wilkes College in Wilkes-Barre, Pennsylvania and a Master
of Science in Voice from The Juilliard School in New York City. During his school years, Mr.
Hyer was the recipient of the John F. Lloyd Memorial Scholarship (Wilkes College), the General
Services Foundation Award (St. Paul, Minnesota), the F. Lammont Belin Arts Scholarship and
was listed in Who's Who in American Colleges and Universities 1965.
While attending Juilliard, he studied with Marion Freschl and Jenny Tourel. He performed for
three years at the Aspen Music Festival, sang in recitals in Colorado, Indiana, Pennsylvania, and
New York, and was featured on the Lincoln Center Student Program and in Master Classes with
Ms. Tourel. '
Upon his graduation from Juilliard, Mr. Hyer established a music studio in Scranton,
Pennsylvania, taught special music programs in the Scranton Public SchooIsand directed chorus
at Keystone Jr. College. He was invited to become the first Executive Director of the newly
fanned Northeastern Pennsylvania Philharmonic, It was while in this position that he was
discovered by the Long Beach Symphony Association and was persuaded to bring his talent to
California.
In 1979, Mr. Hyer left Long Beach to become the Executive Director of the New Jersy
Symphony Orchestra. His charge was to stabilize the organization after nearly a decade of labor
and financial upheaval, and he did exactly that.
Mr. Hyer was President of the Association of California Symphony Orchestras, a statewide
service organization, from 1978 to 1979, and served as the National Conference Chairman for
th~ American Symphony Orchestra League in 1979. He was President of Art Pnde, New
Jersey, Inc., a statewide consortium advocating public support of the arts in New Jersey. In
April 1987, Mr. Hyer received the New Jersey. Pride Award in the Arts from New Jersey
Monthly magazine. He was a member of the board of the Adult School of Maplewood/South
Orange' and has taught Arts Management at Montclair State Co)]ege, Montclair, New Jersey.
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JULIA ANN FLEMING
Vice President for Advancement
Julia Ann Fleming joined The Florida Orchestra in July, 1992 with twenty years of management
experience in marketing, administration, fundraising, public relations and training. Before
joining The Orchestra, she served for two years as the Director of Development for Miami City
Ballet. She was Director of Major Gifts at Carnegie Hall and Director of Development for the
New Jersey Symphony Orchestra for eight seasons.
A consultant to music/dance organizations nationally, she has been on panels, panel chairman,
and outside evaluator for the State Arts Councils in New York, South Carolina and Louisiana.
She has also been actively involved in state advocacy programs in Tennessee, Texas, New Jersey
. and Florida. Her other activities include: Who's Who in American Women; People to People
International-Women in Management Delegate, People's Republic of China, committee chair and
seminar leader for American Symphony Orchestra League; National Society of Fundraising
Executives; New York Junior League serving as chair of American Crafts Council Committee.
. .
Ms~ Fleming was on the Dean of Students staff and an instructor at Indiana University for four
years. She taught elementary school music and piano in Knoxville, Tennessee and studied piano
under a Baldwin Scholarship at Teachers College, Columbia University. She is a graduate of
Indiana University with a Master of Music Education and a Specialist in Multiple Arts, and
received her Bachelor of Music, with Distinction, from Rhodes College, Memphis, Tennessee.
JEROME C. FERRAIRA
Vice President of Marketing and Communications
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Before taking over his present duties at The Florida Orchestra in 1991, Mr. Ferraira served as
Artistic Administrator for two years and Director of Marketing and Public Relations for two
years for the Milwaukee Symphony Orchestra. For two seasons he was the Director of
Marketing and Public Relations for the Florida Philharmonic, and for over ten seasons, held the
same position with the New Jersey Symphony Orchestra.
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Mr. Ferraira possesses a bachelor's degree in Communications as well as a master's in Music,
and in his early career was active as a concert performer and teacher, and holds teacher
certification for the State of Pennsylvania. He has also been a music journalist and critic for the
Scranton Tribune and has been a contributing writer to the Milwaukee Sentinel and to a number
of mitional periodicals, including FM Guide, Symphony magazine, Highlights magazine, and
others. He has given training seminars for the American Symphony Orchestra League and has
lectured extensively on the field of music in the Milwaukee area and elsewhere. For two years,
Mr. Ferraira hosted a weekly television show over the Selkirk Cable Network in Ft. Lauderdale,
and from 1988 to 1991, produced and hosted a weekly classi~ music mdio program on both
Milwaukee's WFMR Radio and on Wisconsin.s statewide Public Radio Network.
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JOHN W. FEYL
Controller
John W. Feyljoined The Florida Orchestra's Administrative staff in November) 1992., Mr. Feyl
has over 19 years of accomplishments directing corporate Finance and' Operations to reduce
costs" increase revenues, and maximize profits~ His backgro,und' includes expertise in
Manufacturing) Service and NonHProfit industries..
For the past three years) Mr. Feyl owned and operated the Feyl Accounting Services in Tampa,
Florida. Prior to this, he was the Finance Director/ Assistant Treasurer for the Buffalo
Philhannonic Orchestra in Buffalo, New York from 1987 to 1990. During the years of 1982'
to 1987, ,he held the position of Assistant V.P. Operations/Controller for Interval Inte~tional
in Buffalo) New York.
Mr. Feyl earned a B.B.A., Accounting from Niagara University, Niagara Falls, New York. In
addition to his duties with' The Florida Orchestra, he serves on the Board of the Tampa Bay,
Children's Chorus and is their Treasurer. He and his family currently reside in' Tampa, Florida.
KA TIIRYN HOLl\1
Associate Director
Kathryn Holm joined The Florida Orchestra.as principal harpist, and the University of Florida
School of Music as Assistant Professor of Harp, in 1977. Her active involvement as Chairman
of the Florida Orchestra' Musicians' Association, her membership on the Board o(Trustees
, Executive . Committee, and the origination of 1990's "Florida Orchestra Weeklt led to her
apIX:>intment in December, 1990, as Acting Executive Director of The Florida 'Orchestra; in
August 1991, she assumed the post of Associate Director.
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Ms. Holm began studying the harp at age twelve, and has studied with the internationally-
renowned Alice Chalifoux, retired principal harpist of the Cleveland Orchestra and director of
the Salzedo, School. She holds the Bachelor of Music degree in harp performance from the
Cleveland 'Institute of Music. A busy recitalist and chamber music performer, Ms. Holm has
also appeared as concerto soloist with the Brevard Chamber Orches~, the University of South
Florida Symphony, the Lakeland Symphony, the Tampa Bay Symphony, and The Florida
Orchestra.' ,
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PETER GARNICK
Vice President of Operations
Peter Garnick joined The Florida Orchestra in August, 1993 as Vice President of apera'tions
with over ten years experience in management. fundraising, finance and marketing. He comes
to the Orchestra from Perth, Australia where he was General Manager of the West Australian
Symphony Orchestra for six years. The West Australian Symphony Orchestra was> one of
Australia's three major orchestras featuring 90 musicians arid performing 150 concerts annually.
Mr. Garnick will oversee all operational activities including scheduling of musicians, contracting
guest ~sts, the programming of orchestra rehearsal and concert dates at each hall, arranging
run-out concerts, and supervising the Orchestra's education programs.
His achievements with West Australian Symphony Orchestra included.. building full time
musicians 65 to 86;, appointing a new Chief Conductqr and concertrnaster;increasing
performances from 70 to over 160 in six years; negotiating a partnership with. the State
Government to increase annual support from A$200,OOO to A$1 million; computerizing the entire
office operations; establishing commercial ventures with international' organizations and
businesses; and more than doubling subscriber and donor bases. .
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His prior experience includes Director of the Annual Fund with The Australian Opera, General
Manager positions with the Santa Barbara Symphony Orchestra and the Maryland Symphony
Orchestra. .
Mr. Garnick has >a degree in Violin Performance from the New England Conservatory and a
Bachelor of Science degree in Physics from Trinity College in Connecticut. He has recently
moved to Tampa with his wife and two children., ' .
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THE FLORIDA ORCHESTRA, INC.
JA1lJA LING, Muric Director
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HISTORY
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THE FLORIDA ORCHESTRA, INC.
HISTORY
The Florida Orchestra is designated a Florida "Major Cultural Institution," a prestigious status
held by only 23 cultural institutions statewide. It has emerged as a leading performing arts
organization in Florida and is considered one of the best regional orchestras in America. The
Orchestra has also been put on the State of Florida Touring Program. The touring program is
comprised of a select group of Florida's finest performing arts groups and supports tours
throughout the state during the season. The program was instituted to make quality groups more
accessible to smaller Florida communities. The Florida Orchestra was the first orchestra
selected to participate in the state tour program when it debuted in 1984-85.
The Orchestra was founded as the Florida Gulf Coast Symphony in 1968 by representatives of
the Tampa Philharmonic and the S1. Petersburg Symphony, who signed documents aboard a
barge in Tampa Bay to merge the two cultural institutions. Committed to creating an orchestra
of the highest artistic quality J the founders selected as their premier Music Director Maestro
Irwin Hoffman, who left the Chicago Symphony Orchestra to come to the Tampa Bay area. The'
Gulf Coast Symphony flourished under Maestro Hoffman's direction, attesting to the need for
a name change in 1984 to The Florida Orchestra. Serving Tampa! . S1. Petersburg, Clearwater
and surrounding areas, The Florida Orchestra performs in three excellent facilities: the Tampa
Bay Performing Arts Center, the Bayfront, Center's Mahaffey Theatre in St. Pe~ersburg, and
Ruth Eckerd Hall in Clearwater. With 87 talented musicians, superb guest artists and an annual
budget of over $4 million, the Orchestra performs more than 150 concerts annually, including
Masterworks, Super Pops, Champagne and Coffee Series, Concerts in the Park and Educational
concerts for children.
The 1988-89 season was a milestone year for the Orchestra with Maestro Jahja Ling making his
debut as Music Director. .He was received with tremendous critical acclaim and public response,
and continues to be in demand as a guest conductor in America and abroad. He also holds the
prestigious position of Resident Conductor of the Cleveland Orchestra. Maestro Ling's
European debut with the Gewandhaus Orchestra of Leipzig, East Germany, received shining
reviews, assuring his reputation as a world-class talent. Highlights of his second year with The
Florida Orchestra were the overwhelming responses to Mahler's Symphony No.9, and Handel's
Messiah, which required the addition of another concert to meet public demand. In 1991 he
brought the Orchestra into the international spotlight as he led them in the performance of the
"Star-Spangled Banner," with Whitney Houston at Super Bowl XXV, before a world-wide
audience of 750 million. The Florida Orchestra made musical history as the first orchestra
invited to perform at a Super Bowl, and a recording and video made of that performance went
gold and platinum, making The Florida Orchestra the first American orchestra to have done so.
The legendary Skitch Henderson, founder and director of the New York Pops and original Music
Director of NBC's "Tonight Show t II is returning for his eighth season as the Orchestra's Super
Pops Music Director. His personal charm and quick wit, and his involvement in the Tampa Bay
area, have won Skitch a special place in the hearts of The Florida Orchestra audiences.
The Florida Orchestra is entering its 26th season of serving the Tampa Bay area. With an
outstanding artistic staff and dedicated management team, the Orchestra looks forward to another
dynamic year of artistic commitment to the Tampa Bay region and lhe State of Florida.