Andrew Green reports on new research about musicians in the real world.

Julian Morgenstern has long been an articulate, indefatigable advocate of 'empowerment' for the freelance orchestral player and the idea that furthering a career is down to individual effort and imagination rather than reliance on chance. Music colleges have regularly given him the chance to expound his theories to students about to discover the challenging realities of life in the profession.

Yes, Morgenstern agrees, there is a sense in which he is gently spreading the word about his Morgensterns musicians diary service, which has just celebrated 20 years in the business. 'But at the same time, as someone who studied at the Guildhall School of Music I have always been keenly interested in what musicians are doing, and want to see their careers advanced. Music students are not always sure what they want to do when they leave college and tend to avoid thinking about the requirements of managing a career until the future hits them in the face.'

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Morgenstern has never forgotten attending a careers lecture when a student at which the speaker painted the worst scenario, describing the 'tough world out there' and claiming that only about a small percentage of his audience had any chance of making a career as a professional musician. 'Given that I'd spent most of my life studying music and had just finished three years at the Guildhall, I felt this was a pretty stupid introduction. What I wanted to hear was enthusiasm and the ability to open my eyes to unexplored but realistic career possibilities.'

When recently Morgenstern received an invitation to speak at the Royal Northern College of Music in Manchester the thought struck him that 'maybe it was time to concentrate less on my own experience and more on the opinions of the hundreds of musicians and fixers with whom we're in daily contact.' The upshot was a questionnaire emailed to his clients, homing in on the range of skills and simple common sense required these days to survive in the freelance world.

The answers have inspired more than a lecture at the RNCM. Morgenstern was moved to make that most sensitive of PR initiatives, a change of slogan for his company. Morgensterns now rejoices under the banner of "diary management for the adventurous musician". "I'd spent years trying to come up with a new phrase that would encapsulate the aspirations of Morgensterns and our clients. The questionnaire refreshed my ideas about where the profession is going. It was the spirit of adventure that shone through the answers I received - orchestras need people with that spirit about them."

A surprise was in store before a single questionnaire was sent out, though. Compiling the list of intended recipients brought home to Morgenstern the fact that a substantial number of his clients still had no access to email, although things are changing all the time. 'You can see the need for change in one reply we had to the questionnaire from a fixer who said that if he doesn't get a reply to an offer of work within 8-12 hours, he generally moves on. He said that with modern communications, players should be "% contactable".'

The key goal of the questionnaire was to discover the kinds of diversification and evangelising being undertaken by freelance musicians at a time when the nationwide concert network is hardly what it was. Some replies showed that for some, 'diversification' means looking outside the world of music.

One response to the questionnaire claimed that 'even some in full-time orchestral employment have had to learn other skills like counselling, physiotherapy and aroma-therapy that they can fit in with their work as musicians.' Morgenstern says he knows of people who are working in such areas as photography and motor-cycle repairs. One clue to the need for such adaptability came from the person who emailed saying that fees for freelance engagements are roughly the same as they were a decade back. He challenged anyone to find a plumber who was still charging the same as he did ten years ago.

But there was plenty of evidence from freelances whose personal initiatives are keeping them afloat in the music business itself. Flautist Nancy Ruffer, for example, reported how she has exploited the internet to drum up concerts at universities and festivals. She had even organised a US tour for an ensemble solely through contacts made on the net. Percussionist Cameron Sinclair described how developing an interest in working with visual artists has led to a series of Arts Council-sponsored trips to Italy 'all from doing something that at the time seemed far removed from the traditions of the conservatoire and what we classical musicians are 'supposed' to be doing.'

John Lewis, a saxophonist with a second-string as a composer, told the story of having to write six-part vocal arrangements (plus instrumentals) at no notice for an Abbey Road recording session. Classically-trained musicians can, he says, help out their pop counterparts who 'write their own stuff on computers, get signed to a label and then realise that they're going to need actual instruments on their tracks to make them sound any good. That's when we step in.'

Another reply emphasised the need to be ready for anything in the concert hall itself, says Morgenstern. 'One clarinettist summed up the feelings of many, I'm sure, by saying that you have to be prepared to play any sort of music today, and to do extra activities on the stage. Innovative programmes are vital, he said, with the emphasis on attracting wider audiences, especially children, and embracing the importance of the visual in our culture these days.' This player, Joan Lluna, does theatrical-style presentations of works both on stage and within the audience.'

Trombonist Tom Hammond was one of several players who pointed up the need to cultivate 'a willingness to embrace educational work, and make it an important part of your schedule - as important as your orchestral skills. Education work can prove both satisfying and financially rewarding'. Another respondent commented that the need to work in education was leading many musicians 'to reassess the skills they learned at conservatoire ¡V 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.'

A vivid picture emerged from the questionnaire of the kind of mosaic career that may increasingly represent the future. Tom Hammond described how, apart from orchestral playing, he undertakes administrative work for a variety of chamber ensembles, setting up tours, fixing and marketing, both to earn money and also to gain administrative experience. He helps run a university orchestra, of which he is music director. Meanwhile, a quarter of his income comes from varied work taken on by his brass quintet.

Even that little lot pales beside the image of the thoroughly modern orchestral player painted by Nick Cox, principal clarinet with the Royal Liverpool Philharmonic Orchestra. Edited highlights from his questionnaire comments only:

'Since being in Liverpool I have almost single-handedly resurrected a defunct and now flourishing, chamber music society and have founded a new music ensemble, for which I did most of the administration and successfully applied for almost £100k in fundsÿ.as well as teaching at the RNCM.

'Musicians should explore the internet and seek to unearth works by unknown composers and also consider commissioning new works themselves. Don't skimp on your college studies, as some day you'll find yourselves having to use many of those academic skills that you thought were irrelevant. Being willing to explore makes you a more interesting musician.

'You should be able to use a spreadsheet and learn to do your own tax and VAT returns. 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 the dots. The ability to network is important.'

Talking of the crucial skill of networking, one freelance suggested players should make a practice of attending concerts to identify orchestras they admire and would like to work for. 'It gives you the opportunity to make new contacts at the players' bar after the concert. It's always good to get to know the people who populate the profession, both players and management. I know some players who collect concert programmes for their player lists and management details.' One respondent even recommended offering to help orchestras with their administration, as a way in. For free.'

Such is the varied picture described by those who took on the questionnaire. As for Morgenstern himself well, he could hardly be accused of not practising what he preaches. His regular newsletters brim over with advice to freelances on ways to maximise their careers. As if in reciprocation, the questionnaire elicited an impressive response to Morgenstern's plea for volunteer mentors to help train college students in the ways of the musical world.

The Morgensterns diary service operation is computerised up to the eyeballs, giving fixers detailed information on players and swift guides to availability. Indeed, Morgenstern is only too keen to point up the new diversification opportunities available to freelance musicians afforded by computer software. 'Players can develop work as composers, arrangers and copyists, thanks to programmes like Sibelius and Finale. Or there's the chance to develop recording expertise via software like Bias Peak and Mark of the Unicorn's Digital Performer.'

Through all the employment insecurity of the new century, Morgenstern remains ineffably optimistic, not least at the way colleges are cottoning on to their responsibilities. The RNCM itself is a case in point, it seems. Head of Performance and Programming Richard Wigley oversees a Music Business programme for current students, whereby professionals run workshops providing advice on such topics as self-promotion, contracts, taxation and negotiation, which is part of a wider Supporting Professional Studies programme. '

This offers more than eighty practical and vocational options,' says Wigley, 'among which are several 'hands-on' opportunities. Students compete for the chance of work experience in such areas as concert, engagement and theatre management, music librarianship and recording. We have well-established schemes run in conjunction with the Halle and the BBC Philharmonic which offer professional orchestral experience, and there's work shadowing with local education authorities and schools. We also provide practical support once students have left the RNCM.'

The last word goes to questionnaire respondent, horn player Kevin Elliott, summing up the future as he sees it. 'I think we're going to see less and less in the way of classical music happening, but I believe that isn't really a bad thing so long as what's around to replace it is equally fulfilling and stimulating.

As I get asked to do more new things I believe it's so important to approach them with a positive attitude.'

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.

Andrew Green

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