Over the years I've heard all the gripes about the lack of practical preparation offered by music colleges to students about to dive into the rough and tumble of the performing profession - not least into the world of the freelance orchestral player.

Things seem slowly to be improving - but are the offers of help too often spurned? Trinity College of Music in London is in the vanguard of conservatoires bringing career guidance into the curriculum, yet college principal Philip Jones pronounces himself disappointed at the response of many final year students. "Recently we invited an orchestra fixer and an official from the ISM to take part in a careers forum for string players. There should have been around 50 there - instead there were just 21, but we understand that compared with some other colleges this was an excellent turn-out! Some speakers address audiences of just 2 or 3. It's been no more successful when we've arranged things through the students' union.

Preparing for the future

"I'm not sure if the situation in UK music colleges is any worse than elsewhere in the world," says David Takeno, Head of Strings at the Guildhall School of Music and Drama, "but yes, there are problems. Advice from teachers can be very important, but while some do, say, encourage their pupils to bring orchestral parts to lessons in readiness for the profession, there are others who insist that any pupil always bring solo, often concerto, repertoire. My own feeling is that students should look to work regularly with all kinds of orchestras - good and bad - while still at college, as preparation and for contacts."

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That's a view endorsed by Sue Dorey, a 'cellist working with such orchestras as the Academy of St Martin in the Fields and the City of London Sinfonia. "At the start of a freelance orchestral career you have to take any chances that come your way - even duff dates. You never know whom you might meet - the important thing is to be in circulation."

Networking

When it comes to forging direct contacts with orchestras, it pays to put in research to assess where, musically and temperamentally, you might fit in - in the strange way of things, each orchestra has its own distinctive musical and social culture (thankfully). The good news is that with many orchestras holding auditions from time to time - even if too many players are chasing too few opportunities even on 'extras' lists - a CV sent through the post stands a good chance of avoiding route one to the bin. Even so, go easy on the verbiage, pleads Katy Jones, fixer for the Academy of St Martin in the Fields. "One side of the page is enough - certain things will just stand out. Make sure the information is relevant. In our case we're naturally interested in seeing evidence of experience in smaller chamber ensembles. It's a big help if you can mention the name of someone in the orchestra who knows your playing.

Auditions

With some orchestras, the best advice is to seek out - yes, more research - section principals and ask to play to them. "I like to see that sort of initiative - few show it," says Heather Baxter, administrator and fixer of the City of London Sinfonia. "We'll hear back from the principals and if there's a recommendation we generally try to offer a date within a year to see how things go. Recession means there's less 'extra work' available, so that's all the more reason for showing imagination."

The effects of recession also suggest that making approaches to orchestras over too wide a geographical area may meet with little success, according to Nicholas Cox, principal clarinet with the Royal Liverpool Philharmonic. "Keep within reasonable distance of home base. Often orchestras in the provinces will have many fine local players to choose from, so if they can get away without paying travel expenses, they will." Cox sees one of the most crucial elements of all as ensuring that players live up to the promise of their CV or even their auditions. "CVs can lie! You must be prepared to put in time on the main repertoire that's appropriate for the orchestras you're keen to work with. Sit down with some recordings, know how the pieces go!".

Orchestral etiquette

It will soon be evident whether a newcomer has the technique, sense of style and knowledge of the repertoire to fit into a given orchestra. What may surprise some is just how much a re- engagement could hang on non-musical factors. "It matters to be sociable," says Sue Dorey, "to fit in. After all, teamwork is what section-playing is all about."

"With each orchestra you need to learn fast how your colleagues behave, and adapt to that," suggests Clarence Adoo. "Notice if they're quiet or noisy. Don't be the first to pull a book out during rehearsals even if you're not playing for a while. If you like curry and the rest of the section eats Chinese, eat Chinese!"

"I've seen good players demolished by their first experience of playing with professional orchestras," says David Takeno. "It can be the shock of suddenly sitting with players at least twenty years older than you who may even try and put you off your stroke. It happens. Be prepared."

Call it stating the obvious if you like but everyone reiterates it. The absolute, cardinal rule is never to be late for a rehearsal. Are there really no excuses - pile-up on the M4....points frozen?? "None at all," insists David Whelton, managing director of the Philharmonia Orchestra. "Always start out by assuming there'll be problems with travel. The whole exercise of just putting on a rehearsal costs a fortune - every minute's vital. Whichever desk you're sitting at, your contribution matters." The first time you're late may be the last - as many to their chagrin can testify.

Look after your fixers

"Make sure you read the schedule," pleads Heather Baxter, with her long experience of receiving calls to confirm details she's already committed to paper and circulated. "Just remember that while I want to be fair to all, if I'm in a rush I may well phone those players I know will make things simple for me. Being a fantastic player may only take you so far."

When orchestra life (hopefully) gets busy, be sure to look after the inner person, says Sue Dorey. "This business is often mad you need to know when to say no to work - look always to turn up to play in the right condition. For that, it's important you retain your self-respect."

Being efficient

But remember that having the service can backfire in a potentially damaging way if those keeping the diary are not kept fully- informed of your availability. The worst thing when you're offered a first gig with an orchestra is for the diary service to have to go back and say you're not available after all. And don't try any tricks with your diary when it comes to double-bookings."

Coda

Most successful freelance players and performers see their careers move forward gradually as a network of contacts develops and things slowly slot into place. Amid the frustrations of trying to make it all work, says Nicholas Cox, don't neglect to feed an intellectual approach to music. "Be inquisitive about different aspects of the repertoire - it helps make you a more interesting person if you have music deep down in your soul and spirit."

Andrew Green

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