 The Clarinet BBoard
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Author: Ken Shaw ★2017
Date: 2003-11-24 19:54
Here are three very interesting articles that came out over the weekend.
Susan Tomes, a well-known pianist, writes about the need to keep emotional distance from the music. Your job is not to have intense feelings yourself, but to evoke them in the audience.
http://www.guardian.co.uk/arts/features/story/0,11710,1090508,00.html
Next, what it's like to audition for the Chicago Symphony.
http://www.chicagotribune.com/features/arts/chi-0311230389nov23,1,7247913.story?coll=chi-leisurearts-hed
Finally, what life in the CSO is like once you get in.
http://www.chicagotribune.com/features/arts/chi-0311230390nov23,1,4167713.story?coll=chi-leisurearts-hed
Best regards.
Ken Shaw
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Author: diz
Date: 2003-11-24 20:57
Ken - thanks, after struggling to register with Chicago Tribune online ... I read the harrowing account of the CSO audition process, be comforted to know it's no easier in Sydney (or any other world class orchestra). Thanks Ken - great articles.
Ken - I particularly like the life in the CSO article, and, even with quite good salaries (base of just over $100K) the idea of purchasing a Stradivarius is almost unachievable. The concertmaster of the Australian Chamber Orchestra plays on a hugely valuable instrument which is sponsored by one of our largest banks. I guess that's the important aspect of private-arts funding?
Without music, the world would be grey, very grey.
Post Edited (2003-11-24 21:09)
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Author: Ken Shaw ★2017
Date: 2003-11-24 21:15
William -
Sorry. I forgetted. Brain cells are dying fast.
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Author: BobD
Date: 2003-11-25 14:47
....and, something of which I had been unaware, the departure of the "new" trumpet player....
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Author: diz
Date: 2003-11-25 20:24
BobD - I guess if you're a 'red bottle in a club of blue bottles' you just don't fit in, no matter who well made you are or how well you perform. Just goes to prove that the life of a professional orchestral musician is very, very tough.
I had one chap once ask me (when I was playing professionally) what I did during the day! - knowing that we almost invariably performed in the evenings. He figured we had day jobs. When I explained that we spent most mornings of the week rehearsing but usually only for three hours (depending on the scheduling) he thought we had a pretty easy life. I then explained that in a standard day (one rehearsal and an evening performance) we were expected to perform 100% and concentrate 100% of the time. He conceded that no 'office worker' (or not many) spent 100% of their day fully concentrating on their job using 100% of their brain power, et cetera. The idea that an orchestral players' life is easy is a myth, or at least it's been a myth in my experience.
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