Author: WhitePlainsDave
Date: 2017-07-12 20:11
In the egotistical world of musical instrument performance, where supply of good talent, especially if the funding is there, so exceeds demand, stories of musicians having to "grin and bear it" abound.
One mechanism I try to use, when working with egotistical people, especially musicians, is to tell myself, (I'm not sure if it's true) that said attitude of being full of oneself may in part be a defense mechanism formed over time to critics, and therefore deserving of not simply disdain, but sympathy. It's sadly human nature to point criticism at times to better players than admit self limitations--which may serve as fuel to why great players sometimes develop great egos.
How do I know I'm not seen as egotistical in the eyes of others? Well, I let my clarinet do the talking (I keep my mouth shut during play), and allow some of the little talking I do to include frank questions to true friends, that tell me like it is, "do I come off with attitude?"
I'd like to think the very fact that I ask this question offers humility to counterbalance arrogance (he says, ironically enough with confidence/attitude) --not that there's much, I think, in my play, compared to virtuosi, to brag about.
"I think talented players should speak out and let the presidents of the orchestras realize they've made a horrible mistake."
Unless I add the words "be able to" between "should" and "speak" I can't agree--at least for pay gigs. Of course I wish it were the case, in other words that it did make sense. But the performance community is small, people talk, and yet it's also large enough for someone to come fill your shoes in a heartbeat if the funding is there.
This is not to say, especially if the money, if any, didn't make or break Bob's ability to "make rent," that I don't vicariously enjoy hearing him "stick it to the man."
(The "man" being management here, not a gender.)
But the sad truth is the very ego driven people I speak of are unlikely in a moment of enlightenment, to realize, "you know what, I WAS wrong," or even say "gee, I best not repeat what I did to the next player," as they are often so passionate in their belief that they are right, that they dig their heels in only further.
I also enjoyed hearing of Bob's turning his back on offers of special treatment that only came after he walked away from negative treatment. There's much to be said for the "if you can't treat me decently when I'm there, then..." way of thinking--not that I recommend that professional musicians without backup careers repeat it.
Then again, the salary offers I've received in the non musical world when I did have leverage and was prepared to leave......music is sadly a business, and business is not fair.
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Research shows that only fear, which players may not have the power to effect, especially lawfully, (let alone may it not be in their best interest) is sometimes the only thing that motivates some people.
Make no mistake, Drucker's record career with the Philharmonic was mostly about virtuosity, but his "the maestro is always right," and "mind your own business and keep your mouth shut" approach to play "didn't hurt either."
Not a bit.
Even top of their game performers sadly deal with this crap. Our instrument community's much loved and respected Jessica Phillips fights for fellow player here:
http://www.latimes.com/entertainment/arts/culture/la-et-cm-metropolitan-opera-musician-contract-negotiations-20140512-story.html
And yet, I get it Bob. Lines do have to be drawn, and words chosen carefully when said lines are necessary.
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