 The Clarinet BBoard
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Author: Bob Bernardo
Date: 2017-04-15 21:33
Some of you or none of you may remember I cracked a few ribs and the president of the orchestra sent an email to me saying I wasn't playing loud enough during the rehearsals, so I was angry when I was sent an email and not approached in person, thus walked outed out of the symphony, maybe 6 months ago. Yesterday I got an email from the same president asking me to come back. They fired the new clarinetist, I guess she couldn't handle the upcoming Beethoven 6th Sym solos. Well some of the solos can be a challenge, musically. I said no. I was happy playing solo works. He emailed back asking what solo would I like to play next season and I responded I didn't really care which one, so he picked the Mozart Concerto. Well I decided to rejoin. hahaha
Sometimes I think it is good to stand strong and walk out when you believe you are right, even if you take a pay cut. If you believe you are right let the jerks know it. They missed me, my sound, talent, whatever, and I was asked back. I'm sure a few others auditioned before they asked me back.
This goes back to a few weeks ago when we were all talking about talented musicians getting booted out of symphonies after a year or so. I think talented players should speak out and let the presidents of the orchestras realize they've made a horrible mistake. They may not get asked back, but the next musician stepping in will have his or her work cut out to make it. If you are a good player well there should be a place for you and politics suck, but if you handle your wording carefully, when angry, good things can sometimes happen.
sonofamaster --- Sadly I didn't know your father. At auditions anything can happen. In the 1970's and 1980's some of the auditions were held behind a screen so the audition committee had no idea who was playing. I think the Musicians Union had a big input in this Behind the Screen audition, but the Union is pretty weak now. For whatever reason this has faded away and it seems that now only lucky people get asked to audition again. Then the contracts are for only one year. Needless to say I don't like this at all. I completely understand that conductors are looking for great woodwind sections, not just one single great clarinet player. They want this special woodwind blend, but at the same time it takes wicked strong players to make up a great woodwind section, so I really don't like these one year contracts. Strong players can get the whole woodwind sections playing really tight. I'm sure it was a mistake your father wan't hired.
Curtis always produces the very best players.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: dorjepismo ★2017
Date: 2017-04-17 02:30
Congratulations! Beethoven Sixth's no pushover, technically or musically, but in lots of scenes, the people in charge can't tell the difference or pretend they can't. Good thing it's different where you're at.
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Author: zhangray4
Date: 2017-07-07 22:15
Such an amazing story from you, Bob. I agree with you that it is important to stand up for what you believe in. Beethoven Sixth is so pleasant to listen to (I listen to it at least once a day) but I agree, playing it musically is not easy!
-- Ray Zhang
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Author: ClarinetRobt
Date: 2017-07-08 00:06
Bob...good for you!
If you're financially secure enough to NOT have to play the BS game, power to you. I assure you, there are many (and not just clarinet players or other musicians) that would love to 'stick it' to the 'man'.
When I was in college, I was back home for a month - kinda like a mini-vacation to visit my parents - and was asked by a community group to help fill in. Ironically, I just put my 'good' Buffet in the shop for a complete overhaul. I offered my Eb services and they seemed excited. I received for days from the manager explaining how they were changing their programming (Él Salon, etc) because they'll have a real eefer player. Cool, I was flattered. The whole thing sounded like a lot of fun.
I arrived at the first rehearsal, eefer in hand, and was immediately scolded for even bothering to show up. I explained I was encourage by the manager (didn't know I was talking to him at first) and the conductor was excited to have an Eb clarinet. The manager called me a liar to my face.
I stared at the manager, coldly, and said I was a lot of things, but a liar isn't one of them. "They could take my talent and shove it up their a$$." I walked out.
A month later, friends told me when the conductor -he wasn't there for the confrontation- started rehearsing that day, he asked where his Eb player was. The manager again lied to cover his butt during the rehearsal...of course, blaming me. The musicians who witnessed the conversation between me and manager, clarify to the conduct what really went down. I got an email apologizing from the conductor. I responded and told him I wasn't a good fit for their organization. (Expletive)
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
Post Edited (2017-07-08 05:53)
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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.
===
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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Author: kdk ★2017
Date: 2017-07-12 21:50
WhitePlainsDave wrote:
> 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."
>
Do you know this to have been true of Drucker? Everything I've ever heard about the NYP paints a picture in which the orchestra is unusually difficult and non-compliant toward conductors. It always seems from the tales that the musicians have a great deal more security there than the conductors.
Karl
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Author: Hank Lehrer
Date: 2017-07-13 18:56
White Plains Dave wrote:
"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."
WPD, what research? I am well educated in learning theory and do not agree with your assertion at all. You have made a grand summation here that is not valid.
What the heck do you mean with "which players may not have the power to effect, especially lawfully." Your words make little sense.
HRL
PS Please check the meaning of "effect" and "affect."
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