And then, to complement all this extra-musical work, there's the adventure of performing and communicating with your audience, Steve Stirling writing that 'musicians should always seek to play with intensity and passion - boring music making corrodes public interest in classical music. One of the ways that I keep my mind fresh is by being very conversational about the music with audiences and preparing lecture-recitals that I present to groups of all ages and musical knowledge.'

Your responses, to my mind, reflect all the creative energy the classical music community is investing, to address the challenge posed by today's multi-media, short attention-span society.

Issues that were articulated by Ernest Fleishman on 16th May 1987, when he presented his manifesto on the future of classical music to the Cleveland Institute of Music titled The Symphony Orchestra is Dead. Long Live the community of Musicians.

In his talk he said that classical music is 'dead because symphony concerts have become dull and predictable, and musicians and audiences are suffering from repetitive routines and formula-type programming.'

I hope this article illustrates, in a small way, some of the developments that have taken place since Fleishman's 1987 challenge.

Please visit our performance graphs page for information about orchestras booking through Morgensterns

Attracting new audiences

'We have to make classical music more contemporary in the sense that we are in a very visual era of our culture.'

Kevin Elliott writing that he remembered 'as a young student at the RAM everything was based around traditional classical, opera and contemporary music. Three years after I had left, I seemed to be working virtually full time with a major Symphony Orchestra, and felt like I was drowning in Classical Music. Mark Stevenson rescued me with London Musici. Since then innovation has been the name of the game Ð for example, Mark's Music Song and Dance series at St Johns was a superbly innovative project.'

Nick Cox, principal clarinet with the RLPO, echoed these calls for adventurous music making, when he advises young musicians to 'continue to research for new repertoire throughout their professional lives - this can involve visiting foreign libraries, so don't neglect your language skills! Musicians should explore the internet and seek to unearth works by unknown composers, and they should also consider commissioning new works. Don't skimp on your college studies, as some day you'll find yourself having to use many of those academic skills that you thought were irrelevant! Being willing to explore makes you a more interesting musician.'

Survival skills In addition to developing a unique musical identity, respondents also recommend that young musicians acquire administrative skills as, throughout their careers, they will have to address all the issues that small businesses have to deal with, such as preparing accounts, publicity and marketing their skills.

'You should be able to use a spreadsheet, and you should learn how to do your own tax and VAT returns' wrote Nick Cox. 'Reading and understanding a balance sheet can also be useful, particularly when it comes to applying for sponsorship. Musicians need to learn how to communicate in all aspects of their careers, and not just focus on playing the dots. The ability to network is important, as is a knowledge of MU contracts - and if you are in new music, publishers, festivals, record companies and composers will all need to know who you are.'

Gaining administrative experience

Nick Cox writing that 'since being in Liverpool I have almost single-handedly resurrected a defunct, and now flourishing, chamber music society and founded a new music ensembleÉ for which I did most of the administration and successfully applied for almost 100k in funds, as well as playing in an orchestra and teaching at the RNCM.'

Commercial pressures

Ian Scott commenting that 'the work that's available today is the same as it always has been, but there is less of it and the pay is roughly the same as it was ten years ago. Try getting a plumber for 1993 rates!!'

Stress

'I find that not many people talk about this aspect of the profession. They tend to over glamorise the profession, but I have experienced it myself, and in my colleagues. It's something that should be paid greater attention at college.'

Social changes

'The quality of music education and instrumental teaching offered today is a post code lottery for many youngsters, and opportunities to develop your musical talents depend very much on where you live,' wrote Nigel Hiscock, head of Music Services for Sutton.

'In fact, a lot of councils are embarrassed to say they have a thriving youth orchestra because it's not 'politically correct' - in my experience the emphasis is all on world music today. Western classical music is considered to be elitist, and it's only thriving in Sutton because it is supported by Sutton Council and because it reflects my passion for music - and the fact that I want to ignite this passion in my students.'

Thinking outside the box

For example 'increasing numbers of musicians are participating in education workshops. and outreach projects. This has led to many musicians having to reassess the skills they learned at conservatoire - sight-reading and being able to play your orchestral excerpts are all very well, but you also need to be able to improvise convincingly too, and to perform different genres of music.

'In other words 'forget being an artisan, mix it with the artists!' I spend much more of my time than ever before initiating artistic projects, not just educational ones, and don't hanker one single bit for the old days of regular deps in the West End or endless ballet tours...' (Cameron Sinclair)

'I have found that promoting a chamber group and setting up educational projects can be both stimulating and financially rewarding', wrote Tom Hammond. 'Currently, I derive around 20 Ð 25% of my income from the different types of work I do with my brass quintet'

New technology

In addition to the development of outreach opportunities, respondents also noted that we are living in a time of great opportunity, particularly with the development of new PC and internet software.

Nancy Ruffer wrote, for example, that she uses 'the internet to contact people organizing concerts at Universities, Festivals, and other promoting organisations. As a result, I have obtained a lot of work for my ensemble, and in fact I organized a tour to the U.S. almost solely by contacts on the internet'

We are also aware of the need for client's to explore extra avenues of employment to supplement their playing income such as, for example, working as copyists with programmes like Sibelius, or offering recording and portrait photography services.

Mentoring

Passionate about playing

'Playing in an orchestra can give you a real buzz, and once you have experienced it, nothing else will do Ð suddenly you're playing to live and it becomes a part of you that you can't give up.' (Nick Cox)

'As a free lance player-you can never plan or have a decent social life. But on the other hand, only after one has spent time in an ofÞce environment can one begin to appreciate the freedom of orchestral life. 'If you can cope with the travel, it's a great way to see the world, play with wonderful musicians in some fantastic, some awful, locations, meet a whole new bunch of people on each occasion, and sometimes meet up with old friendsÉ.' (Rachel Bunn)

'Playing a great concert of music you love; being invited to work with an ensemble or in a genre you've really been trying to break into; being complemented on your playing by people whose opinions you respect Ð these are just some of the great bonuses of working as an orchestral musician' (Jeremy Cook)

'The Festival Hall is packed. The conductor gives you the eye. I start the glissando in Rhapsody in blue. I really milk it and make it last longer than I should. Most punters remember the gliss more than the 20 mins of solo pianoÉ. I have total control of the piece at that moment. When it comes off as it usually should, money cannot buy that sort of buzz!!' (Ian Scott)

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Morgensterns Questionnaire

2) Has luck been important in your career, and how were you active in creating your lucky breaks? (I want to demonstrating how important it is to make your own luck, i.e. by going out to make new contacts and to learn about how the profession works)

3)Have you identified any particular personality types that make successful musicians?

4) If you fix orchestras can you explain, how you select musicians for your fixing list and is there such a thing as an identifiable path to your fixing list?

5) Can you give me an idea of the ups and the downs of the business?

6) Can you make any recommendations to help musicians develop their orchestral and session careers?

7) Is there room in your life for mentoring activities, and do you think that mentoring could make a contribution to the continued success of the orchestral music business? (would you be interested to have your name put forward to the colleges as a possible student mentor?)

8) Finally, as you probably know, I have always encouraged and trained our staff to be tenacious when passing on messages to you, to make sure that you get fast and accurate information about your bookings. It would be very helpful if you can you remember any particular, and surprising, instances when our service has been able to support you successfully.

Of course, any suggestions of improvements would be equally well received.

JM

this article is copyright protected. Morgensterns is licensed to reproduce it. No further copying is permitted without Morgensterns or the author's permission