The Violin Channel recently caught up with Louisville Orchestra Principal Cellist, Nicholas Finch.

Article originally published in Spectator USA.

The fight for equality in America has been long and hard-fought. Sometimes a multi-generational upheaval has been required to undo old notions and myths. But there have been a few times when a new process enabled these changes to happen almost overnight. In the world of classical music, no change was more consequential than the instituting of blind auditions, whereby the musician auditioning for a position is behind a screen, and the only thing a panel can adjudicate is the sound of music.

How do we know this was so successful? Because even self-proclaimed bigots found themselves choosing differently, in spite of themselves. In Blink, Malcolm Gladwell describes how in 1980, Abbie Conant won a position as principal trombone with the Munich Philharmonic Orchestra. Behind the screen, Conant’s playing wowed the committee and the great maestro Sergiu Celibidache. But once the screen came down, these old-school sexists were horrified to discover Conant was a woman. Although Conant had won the audition fairly, Celibidache subsequently tried to have her demoted. Even when she recovered her position after a court battle, she had to struggle to be paid fairly.

The first screened audition at the Metropolitan Opera Orchestra saw four women hired over the objections of sexist members of the orchestra. The Vienna Philharmonic tried and stopped using screens when a Japanese man won their audition. But the results caught the attention of other professions and inspired a famous study in the American Economic Review.

Given this incontrovertible evidence, it was confusing to read Anthony Tommasini, one of the most famous music critics in America, calling in the New York Times for an end to blind auditions — and for the sake of promoting one kind of ‘diversity’ over another:

‘The status quo is not working. If things are to change, ensembles must be able to take proactive steps to address the appalling racial imbalance that remains in their ranks. Blind auditions are no longer tenable … in sticking so stubbornly to the practice, unions may be hurting themselves, their orchestras and their art form. Hanging on to a system that has impeded diversity is particularly conspicuous at a moment when the country has been galvanized by revulsion to police brutality against Black Americans … If the musicians onstage are going to better reflect the diversity of the communities they serve, the audition process has to be altered to take into fuller account artists’ backgrounds and experiences. Removing the screen is a crucial step.’

I am the principal cellist of American ICSOM Orchestra — the Louisville Orchestra, led by our brilliant young music director Teddy Abrams. I have taken countless auditions for other orchestras behind the screen. I have also served on and led audition committees. While the process certainly has its imperfections, I have seen just what a powerful bias-neutralizing force they can be.

In spring 2019, I led an audition for two spots in our cello section. Numerous people I know and love were among the applicants. Could I have been biased in favor of any of them? Of course. Did I have any idea who was who behind the screen? No. We ended up hiring two fantastic cellists, who happen to be female.

Not every orchestra uses screens in the same manner, and in some cases not at all. Stories are shared about powerful figures in top orchestras getting an unusually large number of members of their own family hired, or who only want young, attractive boys, or young attractive girls. The biases at play are endless and deeply human.

There are very few hiring processes where elements of bias based on race, gender, friendship and family really can be accounted for and eliminated — but this is one of them. Tommasini seems to dismiss these multifaceted advantages with a certain casualness.

To give Tommasini his due, there is a racial imbalance in American classical music. My orchestra, I believe, has had only one tenured African American member in its history, who retired several years before I joined. The question is whether or not the blind audition process is the culprit, or other, greater forces in American society and history that lead to racial inequality before the candidates step onto the stage behind that screen.

One thing to consider is the kind of resources required to pursue classical music at the professional level. You typically must come from at least a middle-class background, so that your family has the means to support the necessary early training. Even if those requirements are met, gaining steady employment is still difficult and full of financial risk. It’s hard to think you’ll be able to live comfortably in a field with so few jobs when you’re already scraping to get by.

Add to all this the historical legacy of slavery, and worries about whether or not an encounter with a police officer may be your last, and it is not a mystery why so many people of color with talent might decide to pursue other opportunities. But what about those who are able to navigate those waters, but could still use more resources? This is where organizations like the Sphinx Organization are doing fantastic work — work that is paying off and will pay off for several generations of musicians to come.

Tommasini acknowledges the great work done by institutions like Sphinx. Its president, Afa S. Dworkin, is very optimistic: ‘As we speak…about 96 Black and brown students who were competitively selected from hundreds who auditioned for Sphinx’s summer programs are going to go through intensive solo and chamber music training.’

I can attest that what she says is true. I encountered numerous Sphinx laureates while a student at Juilliard and in other professional environments, many of them playing at the level of the top percentile at that school. Many have joined professional orchestras, conservatory faculties and elite chamber music ensembles, while others get numerous recitalist and soloist opportunities. As older orchestra members retire — a process that takes years to unwind, given that many musicians spend entire careers in an orchestra chair after the grueling process to acquire it — we are going to see this diversity increase even further.

Every organization can do more to help make up early educational opportunities for young musicians who lack resources due to our national legacy of racism. When this pandemic ends, I sincerely hope all organizations, including my own, show a greater dedication to doing their part in this regard.

There is, however, one last troubling dimension to Tommasini’s suggestion. For his article he reached out to several artists of color to hear their views on his proposition — and it does not seem that any of them agreed with him. Anthony McGill, principal clarinet of the New York Philharmonic and the only African American member of that orchestra, shares my concerns about cronyism and favoritism without screens. Furthermore, both he and the Sphinx Organization agree on early education as the key. McGill cites his experience with one such opportunity, the Chicago Teen Ensemble, as being instrumental (no pun intended) in helping him climb Mount Olympus to the stage of Avery Fischer Hall.

Soon after Tommasini’s article was published, the Times published another article on this subject — ‘Black Artists on How to Change Classical Music’ — quoting many people I have known informally and some I have collaborated with. Notable in the article, again, is that none of the artists quoted suggest taking down screens in orchestral auditions.

Tommasini’s outrage at the deaths of people such as George Floyd and Breonna Taylor is completely justified. I live only miles away from where Taylor lived and died. But I have yet to hear anyone from the West End of Louisville asking for special treatment in reaching the stage of Avery Fischer Hall — only that they can walk down their home streets, or even just sleep in their beds, with the same privileges people like Tommasini and I have.

There is a danger that gestures such as Tommasini’s would have more to do with people like us trying to prove to others we are virtuous, rather than providing the help people are really asking for. The Columbia University linguist John McWhorter has made this critique about suggestions from very sincere anti-racists — that they can be, at times, more about people like us seeking grace, rather than doing truly selfless work for others.

Nothing helped increase diversity in classical music more quickly and effectively than blind auditions. Let’s build on that success, instead of tearing it down. We should not let our human foibles have even more arbitrary power — instead let’s continue to submit them to a process that is clearly better than ourselves.

The post Cellist Nicholas Finch Discusses Blind Auditions appeared first on World's Leading Classical Music Platform.

The Violin Channel recently caught up with Orpheus Chamber Orchestra Co-Artistic Director and cellist James Wilson in New York City.

Orpheus Chamber Orchestra Artistic Director Cellist James Wilson Shares the Ins and Outs of this Conductor-less Ensemble

Hello Violin Channel fans. Welcome to this weekend of all things Orpheus.
 
Orpheus Chamber Orchestra was formed in 1972 based on the concept that all musical ideas and inspiration should come from within the players themselves. This vision of an orchestra treating symphonic literature as chamber music, rehearsing democratically and making music without a conductor, was a crazy, revolutionary idea at that time. As you know here in 2019, this concept is now common practice for a lot of professional groups and is used in educational settings as a powerful teaching tool.

But how do we do it? What methods do we have so all this individual involvement and passion doesn’t result in an all-out wrestling match both in rehearsal and on stage? 

To answer some of your questions, here’s an Orpheus primer.
 

Terms 

There are several specific terms we use in Orpheus to talk about rehearsals and group culture. We want to explain these terms to give you a clearer sense of our rehearsal and coaching process. 
 
Equality 

In the Orpheus model, everyone’s points are valid. We try to understand what each of our colleagues hears in the music and understand that it is important. Of course, not every interpretation can be included in a piece of music - depending on the decisions of the Core (see below) and the group census, most points of view will not end up baked into the final product. Nonetheless, hearing a variety of opinions is tantamount to the Orpheus aesthetic. 
 
The “Orpheus Process” 

The Orpheus Process is a rehearsal method, honed over the nearly 50-year history of the group, that enables the group to rehearse efficiently and stay true to our democratic principles. This method uses the following concepts of organization and communication integral to this process. 
 
Core 

One of the first things you will notice if you see us perform is that we employ a rotating leadership model. There will be different people sitting in the leadership chairs for each work on the program. The leaders of each section for any given work are collectively referred to as “The Core” and they will have primary responsibility for overseeing the preparation and creating an artistic vision for the piece.  
 
Oftentimes, the Core rehearses in advance of the first rehearsal with the whole group. In this rehearsal basic concepts like tempo and character are discussed. If time allows, bowings, articulations and other details are worked on. This is the first step in the rehearsal process and help lay a groundwork for the artistic decisions to come.  
 
It is the Core’s responsibility to communicate its concepts to the rest of the group. The Core can (and should) weigh in anytime during the rest of the rehearsal process to help keep the process efficient and focused. 
 
The Concertmaster 

Like most orchestras, Orpheus names the first-chair first violin as the “concertmaster.” In many orchestras that use the conductorless model, the concertmaster takes the role of the conductor. In Orpheus’ model the concertmaster does not fully craft the artistic vision of a piece of music but is the important first point of contact for visual cues and for verbal communication as the rehearsal goes on. In cases of stalemate, where the rehearsal might get stuck, the concertmaster makes final decisions or decides to move on or table the discussion. 
 
Listeners 

During the Orpheus Process, individual musicians are encouraged to vacate their chairs, put their instruments down and listen to the group impartially from the outside (from the audience’s position). This gives a unique and objective perspective on balance, articulation, and really helps decide what works and what doesn’t.  

Often it is an advantage that a player hears a work from a specific perspective. A cellist or a bass player might be more likely to notice and want to highlight an important harmonic shift, and a violinist or oboe player might be more likely to notice a subtle shift in the shape of a melody. While these perspectives are all good, there is no substitute for the perspective of the truly impartial listener, the one who is listening from the vantage point of the audience.  

It’s often amazing how dramatically different the orchestra sounds from out in front, compared with how it sounds inside the orchestra. It’s also interesting how quickly one’s concerns change, how quickly the improvements one wanted to make seem unimportant compared to the much larger problems the listeners hear.  

It is important that there be a designated listener (DL) for almost every minute of every rehearsal, with the possible exception of the very first read-through. It is also important for the DL to exercise care in his/her comments (see the Criticism and Etiquette section below) and it is important that the Core and the rest of the orchestra learn to trust the perspective of the DL. 
 
Preparation 

As you might imagine preparation is key to this model of music-making. We all show up to the first rehearsal with our parts prepared, having looked through the score, and with some sense of what decisions we might make to make the music sound its best.  
 
Score preparation 

A big part of prepping for our rehearsals involves score reading and listening to recordings.  
 
Score reading is not as hard as it might at first seem, especially a chamber orchestra score. The score is often like an abstract painting: first you see everything and nothing jumps out. Then after you spend a few minutes with it, you start to recognize patterns and areas, and shades of light and dark. Our responsibility is to find the thread that will lead the audience through the entire work, hold their interest and tell them a story. Often that starts with finding the “melody” and making sure you understand who has it at any given moment. As soon as that is clear in your mind, though, we need to understand the textures that support that melody, and we need to have an idea of why those particular textures were chosen by the composer. What is the character of this music, what is the composer trying to convey, and how can we maximize that particular thing? What does he/she mean in the choice of that particular expressive word, that particular articulation, or that particular rhythmic accompaniment? And how is it different from other places within the same work? 

Listening 

We take advantage of technology and history by listening to recordings of the pieces we will be playing – not only our own recordings, but to all performances that speak to us. We don’t discount recordings we do not like or agree with. It’s important that we all formulate what makes a recording attractive and meaningful, but ALSO what makes one unattractive. We try to articulate to ourselves why we have these opinions. After all, everyone in the group will probably have to articulate our viewpoints to 31 of our peers in a public setting.

Communication skills 

Listening (again!)

First of all, we need to listen while playing and while discussing the music: 
To each other when we are playing, to carefully match strokes, to blend sound, to feature solo lines. 
To each other’s comments, so that we can try to understand what each of our colleagues hears in the music. 
As the Designated Listener, listening to the whole orchestra from out in front, unencumbered and influenced by our own instrument and our own part.

Listening is a cornerstone of mutual respect and civil discourse, and the Orpheus process. 
  
Mutual Respect

We are all members or guests of Orpheus because we are excellent musicians and excellent instrumentalists. While we may have strengths in different areas, we all bring something to the table. Those of us who are less outspoken may be more thoughtful. Some may be more concerned about instrumental color, some with musical character, some with articulation or tempo or energy or intonation. Whatever it is, it is an interest and a strength that will add to the whole. We are all respectful of our colleagues and really listen to what they are trying to say. It is our individual responsibility to treat every other member as an important colleague so that they are free to do and be their best, and so that they will feel compelled to do the same for you.  

Criticism and Etiquette

In the Orpheus model we are all colleagues; comments and suggestions should flow freely in all directions. For instance, those in positions of responsibility (the Core) for one piece will rotate and be in the position of be trying to get their ideas heard by others in another work. It is important to remember that what goes around comes around, that others will tend to treat you the way they have been treated by you.  
 
How we make comments and suggestions is at least as important as what we say. One technique we use is to try to start with a compliment – for instance what you like about what you just heard. Then we can ask for something more or slightly different, using words like:  
Would you be willing to consider…  
How would you feel about trying…  
 
When discussing things that are not together or not perfectly matched, sometimes it’s best to be impartial:  
“From where I’m sitting, it sounds like either the horns are ahead or the violins are behind.”  
“It sounds to me like the seconds are playing a little longer, or the violas a little shorter.”  
We all try to convey valuable information about the nature of the discrepancy without taking sides about who is “wrong” or “right.”  

We also try to talk about our own perspectives without pointing fingers. There is an enormous difference between  
“I feel that this tempo is a little too slow,”  
and “Your tempo is a little too slow.”  
One describes a reaction to hearing a tempo, while the other is an accusation.  Perhaps even better might be,
“I wish that this tempo could be a little bit faster.”  

Often it is helpful to include ourselves or our sections in the criticism. For instance, let’s imagine that the violas and cellos have a line together, with different notes but the same rhythms and articulations, and you, as a violist, feel that the cellos are playing the notes too long. Try saying,
“I think we’re a little too heavy on these eight notes, let’s try playing them a little shorter.”
In phrasing it this way you appear to be criticizing yourself as well, not pointing fingers at others, but meanwhile you have drawn attention to the detail that you want everyone to notice. 

Collective Inspiration

In Orpheus we are all aware that in every way our colleagues are counting on each other. A concert will happen no matter what, but we don’t want it to just happen, we want it to be a happening, an event, something memorable. In order for the concert to be great each and every member of the orchestra has to take some personal responsibility for more than just the parts we are playing – we are all part of the whole.

We embrace the fact that our colleagues are depending on each other to identify and articulate the moments in the performance that could be more special, more dramatic, more uplifting, more depressing, more ecstatic, or perhaps just more in tune and more together. In order for the performance to be special we have to find a way to challenge and inspire each other. 

We at Orpheus find our shared experience as compelling, challenging and rewarding as we hope you find the music. Aside from the satisfaction of playing together – being in tune, in synch and balanced correctly – the ultimate rewards of this process and of being involved in the group are big. With every project we are shaping our skills of communication and leadership, to empower ourselves and everyone around us to be their best. 

All Best Wishes and Be Well! 
 
-James, Orpheus Chamber Orchestra

Do you have an idea for a blog or news tip? Simply email: hello@theviolinchannel.com

The Grammy Award-winning Orpheus Chamber Orchestra has recorded over 70 albums on all major classical labels, toured to 46 countries across four continents, and collaborated with hundreds of world-class soloists.

Formed in 1972, Orpheus' 34 member musicians work together as a collective and rotate leadership roles for all works performed, giving flight to unconventional interpretations. 

Orpheus presents an annual series at Carnegie Hall, tours major international venues, and has appeared regularly in Japan for 30 years, with recent engagements at the Prague Spring and Dresden Music Festivals and a 12-concert tour of Asia. 

The post James Wilson on Running a Conductor-less Orchestra appeared first on World's Leading Classical Music Platform.

(Photo credit: Vivardy Boursiquot)

Andrew Wan shares his tips on being a concertmaster:

Dear Anna,

I have had the pleasure of occupying the Orchestre Symphonique de Montréal's concertmaster chair over the past 12 seasons, a post I share with my wonderful colleague, Richard Roberts. 

He is among several leaders I strive to emulate and learn from. 

Here are a few more: Martin Riseley (ex-Edmonton Symphony Orchestra), who, during my teenage years, made a sizable impression on me with his consistently demonstrative and beautiful playing, Alex Kerr (ex-Concertgebouw now at the Dallas Symphony), for his sheer command of the instrument and his wise real-time decision-making, and Jonathan Crow (Toronto Symphony Orchestra, also a quartet-mate of mine), who is a terrific example of flexible and communicative playing.

The question posed is a challenging one to answer because I don’t believe there to be a codified series of steps that one must follow in order to be effective as a concertmaster. 

We all know the responsibilities of the job with regard to generating bowings, serving as a liaison to conductors, other section leaders, and administration, playing the odd solo, etc., so I’ll move past this.

I view this particular chair as but one character in the orchestra, larger when necessary and smaller at other times.  It’s worth noting that I find it to be a process that requires constant tweaking.  I try to remind myself to admit that I may not always be correct (more on this later), but should consistently perform actions (sometimes that means inaction or less actions) that encourage others to play not merely with each other, but for each other, and obviously for the music.  Concertmasters' decisions should vary for every unique ensemble, depending on rich tradition versus the natural evolution of style, the group’s particular personalities, the conductor’s artistic vision, and of course would take into account the joyous spontaneity of live art-making!  Sometimes what I do in a particular phrase may work for the violin section during rehearsal but in fact, may be a hindrance come performance.  That judicious malleability is essential in the role.

Despite the hierarchical setup of an orchestra, I find that the best leaders foster environments where others feel comfortable having an impact on the creative process. 

Interpretations deepen with this type of involvement.  It’s a tricky proposition, given limited rehearsal time, but sometimes that means embracing ideas I hear around me that aren’t as I had planned for.  I probably could always get better at this!

Finally, to the point about having a mindset of accepting mistakes and being “wrong”: in my first year at the OSM, I called up the concertmaster of the Metropolitan Opera, David Chan, and asked for advice over a burger before one of his shows.  He left with me an invaluable thought I still come back to regularly.  The reminder was that the job doesn’t require perfection – the discomfort of past and yet-to-come failures would be all too overwhelming – but instead, we ought to keep an internal scorecard of our average daily effort we put into making the experience of those around us positive. 

That’s the job.

-Andrew

Do you have a burning question for one of the pros?
Simply email: hello@theviolinchannel.com

A graduate of The Juilliard School, where he studied with Masao Kawasaki and Ron Copes, Andrew Wan has served as Concertmaster of the Orchestre Symphonique de Montréal since 2008. He is also Associate Professor of Violin at the Schulich School of Music at McGill University, Artistic Director of the OSM Chamber Soloists, member of the Juno and Opus award-winning New Orford String Quartet (NOSQ), and serves on the Orford Music Academy faculty.

The post Violinist Andrew Wan Shares Tips on How to be a Great Concertmaster appeared first on World's Leading Classical Music Platform.

Concertmaster of the Dallas Symphony Orchestra

The fundamental elements of a truly outstanding Concertmaster are an extremely high level of individual performance, a thorough knowledge of and great love for the orchestral repertoire ... and great people skills (being able to galvanize a group as well as help promote and keep a positive working environment.)

I would also throw as added bonuses a natural and easily readable body movement (possible to learn, especially with dance classes) and a good deal of confidence ... not ARROGANCE ... just a strong internal belief in one’s self!

Dale Barltrop

Concertmaster of the Melbourne Symphony Orchestra:

Fine musicianship is expected of a Concertmaster, but in my opinion, what makes a great concertmaster is an awareness of and empathy with all of the human beings involved with the orchestra.

The Concertmaster position is extremely multi-faceted and requires the people skills necessary to interact with many different conductors, an orchestra of 90+ musicians, the CEO, artistic administrator, operations team, librarians, development team, marketing team, board of directors, donors and audience members ... each of whom has their own ideas, values and needs.

Ultimately, the Concertmaster is an ambassador for the orchestra on many levels and it is essential to have well-developed communication skills and the sensitivity and discretion to deal with any number of issues that may arise.

Marin Alsop

Chief Conductor of the Baltimore Symphony Orchestra

This is one of the most challenging roles to fill because it is such a demanding role, combining soloist qualities, a profound orchestral knowledge, and enormous people skills.

It is also a very personal connection for the Music Director and that rapport is critical.

For me, musicality trumps every other factor, but it is essential that a concertmaster be respected by the section and entire orchestra in order to be successful.

Frank Almond

Concertmaster of the Milwaukee Symphony Orchestra

It’s an incredibly complex skillset, most of which cannot be effectively taught (in my experience) ... but certainly can be developed over time intuitively ...

I think the best Concertmasters are not only great musicians overall (and great chamber musicians as well) but also have natural leadership and diplomatic ability that can shift and adapt to various circumstances.

For example, often I can sense from a conductor within a few minutes what they want from that role ... some want help, some don’t. Some want input and to exchange or discuss ideas, and some don’t.

Or you naturally sense that a colleague is having a rough week ... or year ... and over time, you come to realize what helps the section overall, and that may be different than how you might play or think of something on your own.

A sense of flexibility is really vital, and knowing when to say something (or not) ... and if you do talk, how to be most effective.

I have also come to believe that a great Concertmaster has to be able to find ways of helping the overall artistic trajectory in the least confrontational ways possible.

Part of the job is constantly having a sort of radar that helps execute what the conductor (or soloist) is after, whether or not you (or the section) are amenable to what he/she wants.

For example, that may mean a bowing that I know won’t work so well with the string section, but in the end, that’s not really my call if the conductor loves it and wants to take the rehearsal time to change it.

Much of what I write here is a result of my own trial and error over many years; it’s important to understand that there’s always more to learn, and every orchestra and conductor is different.

In truth, it’s actually several jobs all at once.

David Kim

Concertmaster of the Philadelphia Orchestra

Concertmasters are as varied as fingerprints... I have and always will admire all different kinds from orchestras around the world.

I can only speak for what works for me most of the time:

Check your ego at the door... no one wants an arrogant leader. Value everyone equally and learn to be a good listener.

Be as collaborative as you possibly can with your other string principals... especially when it comes to bowings.

Be a decent public speaker... if you're uncomfortable doing this, get a coach.

Learn to read minds... especially whoever is conducting on the podium. You serve as a liaison between the orchestra membership and him/her. The more that you can anticipate and reinforce their wishes, the better the experience will be for everyone.

Rudolf Koelman

Former Concertmaster of the Royal Concertgebouw Orchestra

Apart from being an excellent violinist and musician, I feel you need a natural authority and also a very healthy sense of self esteem.

Good social competence is a must... you must be able to show respect and support to ALL players in the orchestra.

Plus the ability to show the highest respect and support to ALL conductors and soloists.

Plus of course, the importance of always being thoroughly prepared... and of having an expansive knowledge of the complete orchestral score.

Jukka-Pekka Saraste

Finnish Conductor

This is a big issue ... I have seen successes and failures ...

A leader has to be respected by the whole orchestra, both as an excellent instrumentalist and as a musical leader.

These leadership qualities are really important because the Concertmaster has to take the responsibility for the whole orchestra's performance with the right kind of authority.

He or she should be a link between the conductor and the orchestra... thus helping to find the solutions to improve the overall performance.

Very often the winner of the audition has to prove his or her ability to grow into the job during a relatively short trial period. This trial period can sometimes be too short if the young leader doesn´t have enough experience before having to respond to the demands arising from repertoire, colleagues, and conductors.

Do you have a question you’d like our network to answer? Simply email: hello@theviolinchannel.com

The post Fundamental Elements of an Outstanding Concertmaster appeared first on World's Leading Classical Music Platform.

Baltimore Symphony and Sao Paolo State Symphony Music Director

Probation is the time when all factors are considered ... not just performance and preparation - which also need to be exemplary.

One’s interactions with colleagues need to be friendly and non defensive.

Be open to criticism and open to change ... even touching base and asking for input from people.

It’s a balance, though so don’t be overly solicitous either

Alexander Kerr

Concertmaster of the Dallas Symphony Orchestra

BE PREPARED for the first rehearsal!

One should know every entrance as if his/her life depends upon them and be able to play every work with an ease that would enable them to be able to look up at the conductor often and be aware of their colleagues simultaneously.

One should arrive early to every rehearsal and concert ... in my opinion, at least 45 minutes to an hour before! This will exhibit a good work ethic, instill confidence in colleagues of one’s seriousness and professionalism and prevent any possibilities of arriving late for a scheduled service!!!!

Last but not least ... one should never say anything about ANYONE that they wouldn’t say to the person’s face.

A probationer should always consider themselves a “guest in the orchestra’s house” – remaining as positive and as friendly as possible

Roman Simovic

Concertmaster of the London Symphony Orchestra

Always be 100% prepared for the rehearsal ... and study the part like you study a solo concerto!

Bring a pencil ... sit straight ... take a shower ... be nice to people ... come to the rehearsal early ... give all the energy you have to every rehearsal and concert ... and make sure you are contributing to your section's sound, as if it's one.

If you want the job so much, do the maximum you can ... and if in the end, it doesn’t happen, all that matters is that knowing you did the maximum you could

Dale Barltrop

Concertmaster of the Melbourne Symphony Orchestra

When starting out in an orchestra, I would say that it is crucial to be 500% prepared for the first rehearsal of each program.

You may notice that some of the musicians around you might not be quite so prepared as they should be at first, but don’t fall into the trap of thinking that this is acceptable.

It is so important to demonstrate to your colleagues that you are on top of your part and have put in the necessary time at home before showing up to rehearsal. I have seen people fail their probations for this very reason… not because they aren’t fine players, but because they simply haven’t spent enough time with their part.  

This also includes knowing the score .... especially crucial if you are a principal player, but even if you are a tutti player, having a basic understanding of how your part fits with the rest of the orchestra is immensely valuable.

Another factor that tends to trip people up is a lack of awareness and sensitivity to what’s going on around them. Notice what other members of your section are doing as much as possible … be prepared enough with your own part so that you are able to observe how people are playing around you, ensuring that you are matching your colleagues and especially your principals.

Don’t fall into the trap of being a shrinking violet. Whilst it is important that you can demonstrate your ability to blend and fit in with your section, you also don’t want to play so timidly that your colleagues will question whether you contribute enough to the group sound. Be confidently aware at all times!

And lastly, be a team player ... this doesn’t just apply to rehearsals and concerts. Establish relationships with your colleagues and show them that you are invested in the orchestra.

You don’t have to be best friends with everybody, but people want to have a sense that you will be a welcome addition to the family!

Rudolf Koelman

Former 1st Concertmaster of the Royal Concertgebouw Orchestra

Lead with modest body movements ...

Even when you've played the piece before, practice and prepare it well as if it was new.

For rehearsals and concerts, always be early ... NEVER come late or in the last few minutes ... for any reason!

Be aware of and respectful of the hierarchy in and around your orchestra ...

Don‘t try to change anything during your trial period – just observe and do what you are supposed to do.

And, never voice any negative thoughts about or towards anybody in or around your orchestra during your trial period ... even when you're tempted to do so by your colleagues

Vesko Eschkenazy

Concertmaster of the Royal Concertgebouw Orchestra

Once selected, one must make sure that they completely understand the traditions of the orchestra ... the way the orchestra sounds, works and functions – and try their utter best to fit in.

But also, never forget that the trial is not only one-sided... the candidate needs to also find out if the orchestra suits them during the trial period.

My experience is that errors are made mostly when people are not observing well enough the culture and traditions of the orchestra

David Kim

Concertmaster of the Philadelphia Orchestra:

This is a sensitive subject for sure ... Probation/tenure is, on paper, a necessary and effective tool.

Implementing it is quite another story ...

Once people become a ''part of the family'' it's hard to make the tough call, not only for the members of the orchestra, but also for the Music Director ...

Performing while under probation is a delicate balance as some colleagues are judging you while sitting with or near you and others, solely based on watching you from a distance. For the latter, they can't hear you because you're too far away. Of course, no one wants any artificial or manufactured movements or enthusiasm. But I will say that if you want to create doubt and suspense in your process, just look like you're ''phoning it in.''

A lack of intensity and focus transmit all over the orchestra and the audience picks up on it too ...

In the orchestra world at this level, it really is rare when someone can blend into the woodwork yet get away with it

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