 The Oboe BBoard
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Author: Theyoungoboist
Date: 2011-07-17 05:18
How often do professionals play with their ensembles?
-TYO
http://oboeadventures.tumblr.com/
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Author: WoodwindOz
Date: 2011-07-17 08:49
As a casual flautist with our state symphony orchestra (obviously oboists would be the same), the requirement is three rehearsals a week (most of which are half a day) plus two performances (Fri and Sat nights) during normal seasons. If the Ballet or Opera is running as well, that would obviously increase (we don't have a separate orchestra for those companies).
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Author: huboboe
Date: 2011-07-17 20:52
In the several pro groups I have played with, a week typically consists of 7 'services', though there can be as man as 9 services in a 6 day period.
A service is a 2 1/2 hour period, either a rehearsal or a performance. The usual week is rehearsals Tuesday evening, Wednesday afternoon and evening and Thursday dress, with performances Friday and Saturday nights and Sunday matinee. Monday is dark.
Some events, like Nutcrackers at Christmas, change the balance with minimal rehearsal and many performances (My lifetime Nutcracker count exceeds 350!).
Typically the work week is around 20 hours. Add on practice and reed making time and you will be spending the 40 hours a week of a 'real' job.
You live in Los Gatos - I played with the San Jose Symphony (now Symphony Silicon Valley) and subbed in the SF Symphony, SF Opera, SF Ballet, Oakland Symphony as well as a lot of freelance work.
All the pro contracts were quite similar. The Musicians' Union publishes contract terms for the major and minor orchestras in the US, and with few exceptions, terms are similar for most orchestras in this country.
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: GoodWinds ★2017
Date: 2011-07-18 00:34
Wow, a lifetime of Nutcrackers!!
All I know is that a real PROFESSIONAL oboist is definitely a full-time player. I respect and envy them, and wonder if I could ever do that.
My only negative experience in the 'professional' world was to play for a company that puts on musicals; they paid from the moment the show started to final curtain, but did NOT pay for rehearsal time or set up, while other 'gigs' I've played for covered those things. It was a shock because rehearsal time was noted as paid time in the contract. I was a 'sub' so perhaps the contract did not apply to such as I???
GoodWinds
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Author: huboboe
Date: 2011-07-18 18:48
We went around in negotiations about length of ballet services and ended up with a contractual 3 hour service (paid at the same rate/hr), but that service started at 8:00, not when the curtain went up.
Once, with a show only a few minutes short of 3 hrs, one of our members with a critical part in the opening number got stuck in traffic. The show went one minute overtime and cost the ballet 1/2 hour of overtime for the orchestra, close to $2000. That shows the arguments on both sides of the negotiating table.
I can't comment on the terms of any group's contract beyond saying whether or not I could live with it, but for me the gating item was always whether the pleasure of playing a given job was worth the effort involved. I never felt I was being paid enough except for scale recording sessions and subbing in the big-time groups. I always made the majority of my income from other ventures; teaching, machining, janitoring, you name it.
The only folks making a living in classical music are the big ensembles. The second tier groups are struggling to stay alive and even the gig groups are under fire - look at Philadelphia.
And the conservatories turn out enough fine new players each year to fill all the vacancies 5 times over. Young players need to search other outlets for their talents. But it can be done. Google "WindSync" and see how a motivated group of fine players has a great new approach to the wind quintet concert presentation!
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: WoodwindOz
Date: 2011-07-19 10:15
You can definitely earn a living as an orchestral musician in Australia (most positions around or just below average wage, which is fairly high here), although most of them supplement with University teaching as well (we don't have instrumental faculty and studios the way the US universities do). And if you're a string player, you can basically walk in straight out of uni. But if you're a wind player, you almost have to wait for someone to die for a position to open up, and even then they tend to overlook the locals for some international flavour.
My advice to anyone considering performing as a career is to put as many musical eggs in their basket as possible. You will almost certainly teach in some capacity. Arranging and composing can come in as useful skills as well. Conducting skills, especially in the US, are almost a must. And remember that the best solo players do not necessarily make the best ensemble players - expose yourself to all aspects of performing.
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Author: GoodWinds ★2017
Date: 2011-07-19 18:48
..."even then they tend to overlook the locals for some international flavour."
This is TERRIBLY unfortunate, as I am sure there are excellent musicians in Oz (such as yourself).
It figures that in the music world everything is topsy-turvy: I thought that Australia had a 'locals preferred' policy much like Canada does.
GoodWinds
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Author: WoodwindOz
Date: 2011-07-20 02:32
Mary, I wish that were the case! When the orchestras were largely government funded, they seemed to recruit more from within, but since corporations began sponsorship, it seems not to be the case so much. I'm not sure if it's a coincidence, but I'd sure like to see more of our local musicians doing well at home.
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Author: HautboisJJ
Date: 2011-07-20 04:52
On the other hand, i know so many Aussies doing incredibly well away from home. But perhaps they never wanted to be abroad isn't it? Same situation in Malaysia.
Howard
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Author: GoodWinds ★2017
Date: 2011-07-20 15:25
I also tended to better when I was abroad, at getting work. (I played in Canada and Cyprus.)
Strange, isn't it, that we for all our prejudices prefer the 'exotic' foreigner to someone next door...
GoodWinds
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Author: WoodwindOz
Date: 2011-07-20 15:56
Perhaps it's a 'grass is always greener' mindset...I know here in Australia we often look at talent elsewhere in the world and seem to be amazed, completely overlooking the talent we see every day, thinking that everywhere else, the training is better, the opportunities are better, etc.
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Author: GoodWinds ★2017
Date: 2011-07-21 00:24
Human beings!!
Let this be a call to everyone reading this thread to APPRECIATE the wonderful people around you (as well as the wonderful people from elsewhere).
GoodWinds
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