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Marco Frei's introductory article gives an overview of the French orchestra landscape - its historical background, the resulting structures and specific challenges today. Very much centralised and, originally, a matter of royal patronage, the provision of classical music is still largely regarded as a public service. While artists enjoy considerable (financial) privileges, it is arguable if the current state of affairs can be preserved. As Frei further points out, while the reforms of Marcel Landowski, an influential arts administrator from the 1960s to the 1990s, helped to “regionalise" classical musical life, it has remained highly dependent on political support. As a result, ensembles' facilities and reputation often vary greatly. Some, like Toulouse and Lyon, have become high-profile orchestras, but in general many do not receive the recognition they deserve. For self-employed musicians the situation in France appears comfortable, as the French welfare system guarantees a kind of basic income for artists (“intermittents du spectacle"). Yet the system also does have its drawbacks, as it makes touring abroad (too) expensive - a problem, especially as many French music festivals are struggling with financial difficulties. In the following interview, Yves Sapir, president of SNAM, the French musicians' trade union, highlights some of the central issues facing musical life in France. He strongly advocates a commitment to public funding, regarding the provision of classical music as a public service. At the same time, he is wary of new legislation giving local politicians even greater sway over regional orchestras. The way to a professional position is a tough one, as Sven Scherz-Schade explains: the French system is highly selective and in general places a greater emphasis on the training of soloist rather than orchestra musicians. At the same time, teachers are often poorly paid, even at top schools like the Conservatoire de Paris. And as elsewhere, graduates face a difficult job market with far more applicants than open positions. Coveted employers are the two federal broadcasting ensembles, the Orchestre Philharmonique de Radio France and the Orchestre National de France. Central pillars of the French classical music landscape and comfortably financed, the ONF cultivates symphonic music of the 19th century, often acting as national cultural ambassador, whereas the Orchestre Philharmonique puts greater emphasis on contemporary works. The final article looks at some new concert halls currently in progress, in Paris and Lyon. As the responsible executives point out, the new spaces face – and respond to - changing social, cultural and economic situations: they carry classical music to the suburbs, reaching out to new audiences, and try to create inviting leisure environments, beyond a narrow conception of concert-going. [ABSTRACT FROM AUTHOR]

The article presents a discussion on the differences in concert tour tax regulations for orchestras touring in European Union (EU) countries. Comparisons are drawn between tours in Asia and in Europe. Quotations are included by concert management executive Burkhard Glashoff on EU concert halls' solutions for continuing to make a profit from orchestral concerts, the complexity of orchestras' legal forms in various EU countries, and the calculation of taxes for performing orchestras in the EU.

An interview is presented with travel agent Annette Lux on the topic of booking orchestral concert tours in European Union (EU) countries. When asked about the differences between booking tours in the EU as opposed to elsewhere, Lux explained that even EU countries can differ slightly in terms of legislation for travel and work. Further topics discussed included musicians' travel insurance, toll requirements, and provisions for their instruments while on tour.

The article presents a discussion on cultural policy and cultural exchange in border areas of European Union (EU) countries. Particular attention is paid to the financial aspects of cultural and arts administration projects in borderlands, especially as compared to those in more centrally located areas of countries. Descriptions are given of the Cultural Contact Point Germany (CCP) program responsible for supporting cultural relations in Germany.