Klarinet Archive - Posting 000346.txt from 1995/05

From: Laurence Liberson <hardreed@-----.COM>
Subj: Re: Spites & slights
Date: Fri, 19 May 1995 06:38:21 -0400

Neil Leupold wrote:
>
>John Williams recently (within the last few months) conducted a gala series of
>his own world-famous movie soundtracks with an unnamed very-well-known U.S.
>orchestra. During a rehearsal, he paused the orchestra to speak with the
>principal trumpet player, "You were playing a little behind my beat pattern in
>that section of the piece. Please listen closely to the percussion there," to
>which the trumpet player responded by standing up, extending his arm and
>pointing back at Mr. Williams, "Hey buddy, I'm right on _top_ of your beat!"
>
>As far as I know, the player was never spoken to afterwards nor disciplined in
>any way. I guess when you're a tenured principal player of a major orchestra
>and you make $74K a year, you're entitled to disrespect a composer/conductor
>who could buy and sell your orchestra ten times over with the proceeds from his
>work. Hmph.
>

Well, Neil, in some respects, you're absolutely correct in your comments,
but there are two sides to every story. Judging by what Mr. Williams
requested of the trumpet player, it seems as if his retort was a bit out of
line, if not totally unnecessary. We don't know (at least, *I* don't know)
the tone in which the request was delivered, whether or not there had been
friction between the two individuals, etc.

A couple notes, however...*Every* collective bargaining agreement between a
musicians' local (representing the musicians of the orchestra) and the
Corporation (symphony) has a clause on dismissal because of insubordination
(for cause, as it is called). True, it has rarely been used and would, no
doubt, be heavily grieved if so...but it *is* there. Tenure--no matter
*what* the position--wouldn't be a bit of help in a case such as you
mentioned. Tenure has to do with one's ability to play the job, basically.
It would prevent a conductor/music director from overstepping his
dictatorial (well, let's face it, some of them still act that way) bounds in
wishing to dismiss a musician because he/she doesn't care for the way they
dress, the way they look, because he/she likes somebody else better,
etc...It's all happened before. The conductor of past times could--and
would--dismiss a musician for any reason whatsoever at any time. Sometimes
it may have been justified...Often, it wasn't.

Today's contracts allow a music director/conductor to begin dismissal
proceedings against a musician for purely *musical* reasons. However, just
because a certain musician doesn't play with the exact sound that you like
(or whatever) is not going to make it...After all, these were established
players in the orchestra before the conductor arrived (and let's fact it,
conductors come and go alot faster than do orchestra musicians!).

Let's also keep in mind that today's orchestral (not to mention all)
musicians are highly skilled professionals who deserve a little bit of
credit and respect for their skills and artistry. It's not often that a
conductor shows up and actually *teaches* us something, but when that
occasion arises, we don't resent the person for it! Things have come a long
way since the old days...Most conductors today realize that any successful
situation is a *partnership* between the guy (or gal) in front and the rest
of us. Unbelievable as it might seem, the musicians of the orchestra have
been known to teach a conductor something every so often!

It's not so surprising that those conductors with the worst "social" skills
(with an orchestra) are generally those with the least talent...Somehow, ego
keeps them going (and yes, we *all* have ego, don't we?). Any half-baked
orchestra can uncover an imposter like this in a second.

Respect goes both ways. We have a music director here whom we (still)
adore, admittedly a rare happening in today's orchestral world. We had one
prior who we were a bit cold to, but he treated the orchestra with the
utmost in respect and courtesy and received the same in return. As in any
relationship, you get back what you put out.

You will find, for the most part, when a musician is out of line in his
response to a conductor, he/she will hear about it from someone in
authority. However, no management is going to boot somebody out over one
incident. Also, the other musicians in the orchestra probably don't care to
have a guest speak poorly elsewhere of their orchestra due to one person's
verbal misfire!

One short story: many years ago (early 80's, I believe), Gerard Schwartz
came for a week of concerts with us. He was rude, condescending and
downright unpleasant...and honestly, he didn't have a whole lot to offer
musically, either (which surprised me, as he was very good to work with the
summer prior). At the second rehearsal, he got up on the podium and just
stood there, grimacing at the orchestra. As we sat there, awaiting his
instructions, downbeat or *anything*, he simply uttered an obscenity towards
the orchestra...In probably the finest unison you have ever witnessed, the
orchestra rose up and shouted him right off the stage. After a hasty
meeting amongst ourselves with our orchestra committee, we decided to go on
and play with him for the rest of the week. He was terse, to say the least,
in the rest of his rehearsal time with us.

The next week, Schwartz basically pulled the same stunt, only this time it
was with the Philadelphia Orchestra...

...and they refused to let him back in their building, a decision that was
backed up by their management!

Clearly, respect and cooperation goes both ways!

Larry Liberson
Detroit Symphony Orchestra
hardreed@-----.com