Wednesday 5 October 2011

Musicians: The Professional Approach


At Rehearsal




Mud From A Scraper
No. 4 in an Occasional Series

"I say 'silver sound', because musicians sound for silver"
Shakespeare



The first rule that must be learnt by those who would understand the character of musicians is that few members of an orchestra are interested in music. Each plays his instrument because that is his trade - because that is the job for which he is physically and mentally suited, and that is the best way he knows of earning a living.

His aim is, like the average man or woman, to earn the maximum income with the minimum effort, though this is not so straightforward as it sounds, and even the minimum effort is very strenuous. Owing to the fact that there are a few eccentrics in the profession, who exhibit excessive interest in their work, who are insensitive to the hostility they arouse, and who have relations in the management, an unnecessarily high standard of conduct has come to be expected. It requires a great deal of skill to find the mean between doing as little work as is compatible with an artistic conscience, and doing as much as a conductor demands.

The location of this compromise is determined not only by the general pattern of behaviour of the particular orchestra, but by the position of the player in question: The further back in the section the musician is, the less he needs to keep up appearances. Those at the back may need to make a better showing than their immediate superiors in order to remain in the orchestra at all; those at the front, who are heard and watched by all, are expected to look efficient even to laymen, and must behave as though they enjoy playing the same old hackneyed works year after year.

All other points of orchestral technique are based on this principle. It governs the posture the player adopts, the energy he expends in playing, the time he arrives at rehearsal and the colour of the socks he wears for concerts.

It may be thought that the height of a musician's professional ambition would be membership of one of the top symphony orchestras. It is not so; even members of the top symphony orchestras yearn to be invited to play with the small, light combinations which broadcast so frequently under so many names. A contract job is considered stultifying, and though the financial security is useful, a free-lance player with the right connections can earn in a week as much as a symphony player receives in a month, though he may be unemployed for the two subsequent weeks.

Above all, a player must have the attitude of mind which goes with this concept of the profession. The biggest crime one can commit used to be called 'arty-crafty' or 'British West Hampstead'.  This consist of understanding counterpoint, going to concerts, tracing the influence of Stravinsky in the works of Villa-Lobos, and working out unconventional fingerings. Such behaviour may make a good impression on an amateur orchestra or on the lunatic fringes of the profession. It is anathema to the experienced player.



38 comments:

  1. it is intriguing to see behind the scenes a bit in these posts and understand a bit of their mentality...

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  2. The color of his socks?

    Friko, I am having a difficult time articulating all that this post has made me think. Probably because it is filled with the sorts of ideas which require rumination prior to response.

    I may be back after I have mulled.

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  3. A parable for all employment; it brings to mind Moliere's quip that writing is like prostitution. There are so many layers here that it will keep me entertained all day. Jim

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  4. an excellent idea,thanks for sharing

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  5. It is probably true that we sell ourselves out to an extent in any profession. However, the classical music world is one I know essentially nothing about, and so this post is very interesting. The thing here is they are selling their talent whereas in an office job we simply sell our time, along with our souls.

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  6. When one substitutes 'world leader' for musician, it's a bit scary - but true, I'm convinced.

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  7. Intriguing perspective. I ditto W. Stranger's comment. R Jack makes me think if all skilled workers adopted the approach put forth here, more would get done, faster and better with the workers earning more as they are always adapting different ways to finish and go to the next gig or to enjoying unemployed time for other pursuits!

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  8. I've seen this firsthand, having observed the orchestra in my city closely. I've watched the players many times seeming to go begrudgingly through the motions, and on these occasions Bach never lifted off the smudged notes on the dusty pages. Then I've watched the same orchestra perform a piece they haven't done 1000 times and they were practically giddy with excitement. We have an excellent concertmaster, who puts everything he's got into it every time. I've seen him wince at a false note and close his eyes awash in the sublimity of it all. I've been in the privileged position of sitting in on rehearsals and I've heard the musicians grumble and gripe, one time because it was a Saturday morning and a few of them wanted to be outside, at a park - anywhere but at work. I confess, as someone who desires to be paid for his art more than anything in the world, their grumbling seemed petty and selfish.

    Finally, this is so beautifully written, Friko, I stand and applaud.

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  9. Very interesting post Friko!

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  10. this reads like a veteran's insider's view. this the sort of piece that could run in a sunday magazine for the times. you bring such a fresh perspective to a traditional scene. you know so much of what's going on in the pit (or on the stage) and what's going in their heads.
    totally engaging.

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  11. I think you opened up a part of my brain I never knew existed, Friko! Very interesting. I know very little about 'proper' music but you have made me want to learn more.

    Thanks

    Ben

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  12. I guess I knew in my heart of hearts that music of the highest could be stultifying. After all, it is artists of the highest caliber touching God now and again. And art combined with economics is always a nasty meeting.

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  13. Well, musicians are people after all, aren't they? Strange people, even outright weird people, but people none the less. And what person doesn't want to get the most for the least? Just ask a banker and you will see that they subscribe wholeheartedly to this philosophy. Having spent some time around symphony musicians I too learned, as you, that to them it's mostly just a job. So I have come to the point to where I now consider a symphonic performance a reenactment. Only without the funny costumes.

    I guess that's why I'm a low-life jazzer.

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  14. LOL! Love it:-) (always being aware,of course, of the kernel of truth contained within)

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  15. Very thought provoking indeed :-).

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  16. Dear Friko, I found this posting on musicians fascinating. Like other commentators, I need to "ruminate" on what you said.

    But one big question I have is "How do you know all of this?" Are you a musician? Or is someone in your family a musician? Or a friend?

    Have you figured this out from going to lots of concerts? From listening to small groups in pubs or in the village?

    I have always been aware of the difference between simply playing an instrument and making music. But you've taken me inside all that.

    Thank you. And peace.

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  17. This was very well written. Sometimes it does seem like EVERYTHING is a violating transaction on some level. ~Mary

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  18. Thanks for bursting my bubble. I just bought the season tickets to my community's symphony season. Now, I will be totally wondering how all those players really feel.

    Seriously, you gave us much to think about in this post. I think you really have hit on something here. It all makes sense to me.

    I too wonder if you are a musician.

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  19. Of course, I know you've figured out by now not to believe anything I say Friko. Well, at least not all of it. All musician's love their work even if they won't admit it. How could there not be at least moments of absolute joy when endeavoring in mankind's greatest creation.

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  20. My former piano teacher concertized now and then, and said her biggest problem was making a piece she'd played 500 times sound fresh. I've not been able to recover my old naiveté about musicians since.

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  21. Well, of course, I love these "inside track" commentaries of yours about the real life among professional musicians. This one had me laughing out loud at many points; here is but one: “The biggest crime one can commit used to be called 'arty-crafty' or 'British West Hampstead'. This consist of understanding counterpoint, going to concerts, tracing the influence of Stravinsky in the works of Villa-Lobos, and working out unconventional fingerings.” I see the makings here of a fine Britcom series (for the Brits, by my lights, do this sort of thing better than anyone), with Friko as the scriptwriter. I would be an avid watcher of such a series, I can tell you! Sort of a musical “Yes, Minister.” You are the best at acid wit of anyone I know.

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  22. I keep forgetting to let you know how much I love your new head photograph, as well. Gorgeous.

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  23. Warm Aloha from Honolulu;

    Comfort Spiral



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  24. This is a jaded look at musicians, but perhaps often true. I am married to a musician, whose heart and soul is devoted to music, but who actually earns his living in a different realm: academia, social science.

    It must make a difference when you have to grind out the riffs for a living. How sad. Our society doesn't really reward musicians properly. The "lunatic fringe" should be a magnet for the experienced player, and a financial plus for them. I know this will never happen.

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  25. I love this post, Friko. Stopping to think about something that has never crossed my mind before and considering a view that would never have dawned on me. Thanks.

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  26. Like Mark Kerstetter, above, I would love to be paid for my art. It will never be as I'm not that good and not driven enough to become so. I've long suspected professional musicians might feel the way you describe in this beautifully written post, but I bet if you offered any one of them an office job, they'd turn it down in a flash - the few musicians I actually know have said as much to me in the past.

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  27. Hi Friko .. such a wonderful post - applicable to many trades .. and life .. Steve Jobs' words "Find your passion" .. keep looking and doing your best etc .. cheers Hilary

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  28. Whenever you write about musicians, I think of the cellist with whom I waited tables. She was of the nose in the air, committed-to-My-Art ilk, and lived for Art in Any Form. She made a very lackluster waitress and a difficult coworker.

    Anything one does for money ceases to be fun.

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  29. I suppose I am not arty enough. Or, perhaps I am a heathern? No, I don't like either Villa-Lobos or Stravinsky....their primative sounds are too discordant for me.

    I am stuck in the nineteeth century with Chopinski, or the eighteenth with Scarlatti. Even Beethoven scares me.
    Dianne

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  30. My son, who is a professional musician, played in a Disco band 40 years ago and made the most money he has ever made as a musician. He quit the band because he said his music was suffering. He didn't have time to practice.

    Over the years his idealism faded and the most joy he found was when he had a student that excelled. He is now a manager for a company that makes mouthpieces and he does have a few students, but no longer plays gigs.

    His love of music has never waned, however, even though playing became just a job.

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  31. My son, who works with professional musicians in Nashville, has taught me that it's the studio musicians, the free-lancers who wind up playing on all the top selling albums of whatever genre, who have the most respect and earn the most money.

    Your revelations can be a little disconcerting to those of us who stand in awe of great musicians, but it makes sense. It's ever thus within professions. You learn your profession out of passion and then practice it out of necessity.

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  32. What an intriguing thought on musicians, work and life. Great post.

    Darryl and Ruth :)

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  33. being a hobby musician, this left me kind of speechless as there's a lot of enthusiasm in my playing...but i guess you are right - it is a big difference if you do it for fun and just every once and a while or if you are a professional...very interesting perspective..enjoyed the glimpse behind the scenes

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  34. These are aspects I never considered. Just fascinating.

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  35. i guess it is true that you could easily get into the routine of music and it become just another job

    Still beats checkout at McDonalds though

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  36. Husband has only occasionally played for a living but has nightmarish recollections of six months spent playing the double bass in a club in Leopoldville where "Volare" was the much requested favourite .... night after night , after night .

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  37. I enjoy some classical music, I wouldn't say most. I think one of my all time favorites is Tchaikovski's Violin Concerto in D Major, with Itzhak Perlman.

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