first published in the July 5th 2008 edition of Classical Music 2008

The crew at Morgensterns are so plugged in to the music industry it is hardly surprising that a large number of them have gone on to key posts in the business. Tim Woodall, an old Morgensternian himself, tracks some of them down

There is a dilemma that hits university music undergraduates toward the end of their student lives. That is assuming that a career in musical circles beckons, of course.

Post-university employer surveys have found that music graduates are sought after by large corporations as ideal candidates for graduate traineeships. Doubtful as this may sound to those of us who once enjoyed five hours of lectures a week and spent far too long larking about in practice rooms, it appears that a music degree gives a competitive edge to a CV. But for those sticking doggedly with music, the problem kicks in: where do I start?

In this very position a few years ago, I, like many of my peers, was attracted to arts management. I was cautious about performance as it seemed that in the crowded world of performers I would never standout as sufficiently as I might wish, while starting to teach so soon after leaving the education system seemed a terrifying prospect. However, 'arts admin' offered me the opportunity to work for orchestras, promoters, agencies and music festivals where I could have a small hand in promoting music.

'I was on the orchestra committee, and really enjoyed organising and putting on concerts, so when I graduated, I was determined to have a career in orchestral management' says Claire Sainsbury, now orchestra manager at the City of London Sinfonia.

Liz Horseman, who is now an administrator and concerts manager at the Trinity College of Music Junior Department had a similar experience, 'I studied at the Royal College of Music and began my time there with my heart set on being a performer. However, I soon became interested in other aspects of musical life and started working at the RCM Junior Department, where I began to develop an interest in music education and also got my first insight into orchestral management.'

The difficulty in starting in arts admin, though, is almost as acute as performing: competition for jobs is extremely stiff, especially in London. For myself and many others, a way into the industry came at Morgensterns Diary Service.

Operating as a comprehensive support service, Morgensterns is both beneficial for musicians to manage their busy lives and make sure any opportunities for work are not passed over. It is also extremely useful for fixers (orchestral and personnel managers) to channel their enquiries quickly and efficiently.

Part of the success of the business comes from an ability to support musicians working at many different levels of the performing world. Top-flight session players have the advantage of having their complex diary managed, while fresh graduates can use the service to raise their profile, network and make contacts in the business.

Julian Morgenstern, who started the company in the 1980's, employs four Teleteam members who run the day-to-day office, mostly taking on music graduates looking to develop a career in the orchestral world. Morgenstern is proud of the fact that many ex-employees have gone on to exciting jobs across the industry

'Past members of our teleteam are now working at the BBC orchestras, the City of London Sinfonia, the English Chamber Orchestra, the Orchestra of the Age of Enlightenment, Opera North; artist management agencies such as Intermusica, Harrison Parrott and Askonas Holt; as well as EMI and Trinity College of Music.'

With a purpose-built computer system and with comprehensive training to learn the ropes (it takes approximately three months for a new employee to be fully trained), Morgensterns is a demanding place to start work and involves a particular set of skills to thrive - something that a lot of ex-Morgensterns employees point to as a help in subsequent interviews and jobs.

'Communication skills, organisation, attention to detail, prioritising is something I definitely picked up and have used many times in this job' says Claire Dersley, concerts assistant at the BBC Concert Orchestra.

Ed Milner, now working at Harrison Parrott adding that 'working at Morgensterns, you have to be efficient, fast-working and fast-thinking.' It is an intense environment and employees quickly learn the intricacies of how the classical music scene works, from the busy working schedules of the London symphony orchestras and opera houses to the last moment scheduling of film sessions at Abbey Road.

Options for starting in arts management remain limited. While graduates may often gain interviews for full-time employment, positions are rarely given to those without experience.

Natalie Chivers (now education assistant at the Orchestra of the Age of Enlightenment), found interviews 'intimidating and very formal'. Essentially, arts organisations want graduates to do an internship, but it is not always practical.

'It all seemed pretty bleak to be honest! I wasn't in a position to do an unpaid internship with an orchestra, and all the advertised jobs that interested me normally required at least 18 months' administrative experience,' says Claire Sainsbury, while Liz Horseman feels that 'internships are a great way to gain experience but they are not a realistic option for everyone, and competition for places seems to be increasing'.

The team in the office is small, and shift work (the fixing world does not run with civilised working hours) means rarely working with more than one colleague. However, Morgensterns employees speak to such a wide range of professionals that working relationships depending on trust are developed with both musicians and fixers.

When I left Morgensterns I was sad to say goodbye to many fixers and clients with whom I had worked so closely, but I also knew that I knew more people in the music world than I could have through any other graduate role.

Liz Horseman describes it as 'working at the nucleus of the music world', and it makes it possible for employees to spread their net widely when it comes to making contacts.

Ed Milner's advice to young graduates seeking a career in arts management is to 'be keen - the most important thing is to get on with people'. Helen Wilson, orchestra manager at Opera North agrees adding 'that you have to get ready to plunge into the musical world and get as much hands on experience as possible, even if it is through lots of unpaid volunteering.'

This ethos of enthusiasm and a desire to 'get stuck in' - starting at university with getting involved in music societies - is the best tool a graduate can have when starting in arts management.

Clichéd as it might sound, the intimate nature of the classical music world makes networking an important factor in arts management. As concerts assistant at the BBC Concert Orchestra, Claire Dersley comments, 'when I applied for this job, I was already talking to my current managers pretty much every day at Morgensterns to take bookings, so I felt I could easily ask them about the job.'

Claire Sainsbury adding that 'At any given time I would usually know which orchestra was on tour, which operas were on in London (and the UK) and who was recording the next big film sessions.'

'I still hear from staff who have worked for Julian, who have gone on to become administrators in their own right, so it is obviously a very good background and training to learn how the music business works, and this is recognised as such by other employers in the music business. A lot of Julian's staff come to performances of our ballets and then come round to meet clients of Morgensterns in the interval. This is always much appreciated by the players and I know the staff love being able to put faces to the voices they so often hear on the phone. Paul Allen (Orchestra Manager for English National Ballet and client of 25 years)

When moving on to new jobs, ex-Morgensterns employees tend to move naturally to orchestras or agencies (I moved on to work for Intermusica Arts Management) but often move further a field as their working lives develop.

Both my recent ex-colleagues and those who have been working in the industry for years cite the skills they learnt to communicate and get on with people as the reason that working at Morgensterns provided a platform to start a career in arts management.

Helen Wilson sums it up, 'my three years at Morgensterns gave me an invaluable overview and insight into the orchestral world, which I don't think any other job could offer.'

Timothy Woodall (first published in the 5th July 2008 edition of Classical Music)

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