Great Expectations

When I first entered the audition circuit I didn’t spend much time thinking about important issues like the future of classical music, the ratio of highly qualified candidates to orchestra jobs, or even how much money I would earn as a professional musician. My only focus was winning a job and I spent hours in the practice room working toward that goal. My motivation was simply a passion for music, and the idea that there would be nothing more rewarding or enjoyable than getting paid to play Beethoven, Mozart or Mahler every week.

After four years as a member of a professional orchestra my passion for music has not changed, but I now have a deeper understanding of what it means to be a professional. Most orchestral musicians would probably agree that under the best circumstances (a conductor with a great interpretation, a hall with good acoustics, etc.) there is nothing more gratifying than performing in a professional orchestra. However, like any job, not every moment in a professional orchestra is equally inspiring. I have learned that much of what I assumed to be a given, such as performing in an adequate concert hall and musicians being treated with respect by management, cannot be taken for granted.

A professional’s attitude toward playing is influenced by a sense of responsibility that a student or amateur musician does not have to worry about. As a professional, I have to keep my skill level high and I must give my best even if I don’t feel like it. In addition, I understand that my orchestra’s success requires me to do more than show up and play. Musicians have a responsibility to act as a primary artistic compass for their organization.
Having played in an orchestra for only four years I don’t have a good sense of how the current professional environment compares with the past. I think it is important that young musicians respect the sacrifices of the players who came before.

No academic training can completely prepare musicians for life in a professional orchestra. However, the more students know about the non-artistic aspects of the orchestra business, the better prepared they will be to help their orchestra move forward artistically.