Morgensterns Client & Fixer Survey, by Andrew Green

When, in the summer of 2003, Julian 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.

Cliché or not, the phrase thinking outside the box neatly sums up what is demanded of freelance musicians, if they're to survive in the music business of the early 21st century.

What comes across from Clients and Fixers answers is that players have to be able to take stock of their skills and understand where they fit into the profession.

Today's young professionals have to understand the profession they're about to enter and learn about the people who populate it. They have to put in place the administration that they'll need to make it possible for them to manage their careers. And they have to learn about their customers - the orchestras who want to buy their skills and the audiences who want to listen to them play.

It was clear from what you had to say, that today's performer has to be prepared to tackle many different musical forms and styles, and present them in whatever way is likely to bring in an audience - especially children, the music-lovers of the future.

 Experimentation

'The quality of music education and instrumental teaching is a lottery for many youngsters today,' says Nigel Hiscock, Head of Music Services for Sutton in South London. 'Opportunities to develop your musical talents depend very much on where you live. A lot of councils are embarrassed to say they have a thriving youth orchestra because it's not "politically correct". There's an emphasis on world music today - western classical music is considered to be elitist. Classical music in Sutton is thriving only because it reflects my passion - and I want to develop that passion in my students.

'This lack of commitment to classical music and western European culture is already having a knock-on effect, in that music colleges are beginning to find it hard to offer places to a balanced mix of students. For example, there's a crisis in the number of students taking up certain instruments - in particular bassoon, oboe, trombone, horn and viola. Audiences for classical orchestral concerts, and the standard of orchestral playing in the UK, that is so highly regarded today, are going to be decimated if this trend continues.'

For the moment freelance musicians still face fierce competition for work. But the future? Well, the adaptability that's now required of players simply to find work mirrors nothing more nor less than the versatility which the classical music industry must display if the next generation of audiences is to be attracted and retained.

Some insecurities will never change - such as the whims of section principals, as one respondent commented. 'The reason my work with one of the major orchestras came to an end was due to a change of principal, who quite simply didn't know me. Nothing to do with my playing. I understood how this could happen two years later, when I was appointed principal horn for an important regional orchestra and did the same thing, without even considering the impact of my actions on the previous principal's colleagues.'

On the other hand, there's so much a freelance player can do to enhance the chances of finding work. Insecurity is the mother of invention...or at least, of initiative. And initiative on a range of fronts. All those who responded to the questionnaire were agreed. You have to make your own luck.

First principle: identify your ambitions. 'Do you want to work with contemporary, baroque, classical, Romantic orchestras?' was a question posed by one respondent. 'Knowing this will help you to use your energies effectively.' Be realistic about your abilities, interests and potential - you'll be happier.

 Networking

Among the suggested networking moves were playing chamber music and either auditioning to influential players or asking them for consultation lessons. You'll only be offered work if your playing and personality are known to colleague musicians. 'Your contacts are precious and need nurturing!' said one respondent. 'For example, if you're working with an orchestra, always make a point of talking to a selection of your orchestral colleagues.'

Jeremy Cook wrote that '...my first big break came from sitting with an ex-LPO member in an English Symphony gig. I mentioned I was looking for work and asked if he could recommend anyone for me to play to. He told me the LPO were looking for cellists for a tour and he recommended me to the principal cellist. I was booked and from then on I've worked regularly with the LPO.'

Ian Scott wrote that he was visiting his old teacher to see if he could find work in Scotland. 'While I was there, my teacher took a call about a tour - someone had fallen ill and they needed a replacement player. He couldn't do the date, so he passed the phone over to me - and I then had three months' work.'

'At some stage in your career, you will probably have to cold call fixers that you want to work for,' was another observation. 'I've only once swallowed my pride and seriously asked someone for work. But this call opened a few really good avenues for me, which I doubt would have happened had I not made that initial call.'

 Cold calling

 Fixing Lists

'I'll also accept recommendations from section principals for names of freelance players to book in one of those last minute illness scenarios.'

Julian Knight from the New London Orchestra wrote: 'I would only book a player I've not used before by having them recommended by a high-ranking current player, or by another fixer, or by meeting them and hearing them play.' And if you want work, ensure that you're contactable at all times. As one fixer warned: 'If I don't get a reply to an offer of work within 8-12 hours, I generally move on. With modern communications, you should be 100% contactable.

Various people emphasised that today's players need to learn everything they can about the music profession, including keeping up to date with management personnel and (how's this for an idea?) going to concerts they're not playing in. 'Students don't usually do this,' says clarinettist Mark Van De Wiel, 'and as a result they often have no idea what styles of playing and behaviour might be required, and also have no inspiration either. Going to concerts gives you the opportunity to identify orchestras you'd like to work with. It also 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, because they usually have player lists and management details.'

Another respondent even recommended offering to help orchestras with their administration. For free. 'You never know what useful information you might pick up.'

Be practical. 'Develop & use a mailing list - for example, to keep fixers up-to-date with your latest CV information' was one piece of advice. And don't panic if work isn't offered to you immediately! Remember that it takes time to get onto fixers' lists and even more time to move up their fixing list.

 Building a reputation

'Don't turn things down just because they're far away, or the money isn't so good,' says cellist Sebastian Rudnicki. 'You should try and say 'yes' to as much as possible - even little gigs can turn into something much more satisfying and lucrative one day, as you meet different people on the date and start to build your network of contacts.'

'When starting out, you need to be flexible,' was another comment. 'For example, don't jeopardise new work opportunities, possibly with an orchestra that is just starting out, by insisting on MU rates. You never know how successful the new group is going to be.'

 Fees

And talking of fees and flexibility, there was a word of warning from one quarter about doubling. 'You should be prepared to play all the standard doublings and always check what instruments you need before you leave for a gig!'. Quite.

 Nurturing your reputation

And how do you get to play in Carnegie Hall, as someone once asked? Practice. 'Don't be afraid to ask advice if you feel there are areas in your playing that need developing,' was one comment. 'Practice keeps your mind active and ensures you're prepared for any work you are offered, rather than being on the back foot. Remember that session work, for example, requires you to sight read perfectly whatever is thrown at you, which can be monotonously simple and suddenly fiendishly complicated. In an environment where seconds can cost thousands of pounds, mistakes are not acceptable.'

 Some of the pithiest comments you made

'Always allow ample time to cross London, or the UK, or Europe or wherever, but be there in good time! If you're late you've broken your contract, so don't be surprised and upset to find you've been replaced.'

 'There's little room in a self-run orchestra for players who are consistently late,

Jane Moss, fixer of the RPO, knows just what it's like to be let down. 'As a fixer, imagine turning up for the start of a film session (costing a promoter thousands of pounds per minute), and then Þnding that the principal oboe you thought you'd booked is in fact in USA.... you have to face the client, the conductor, do some fancy footwork to provide an explanation, and then find a replacement as quickly as possible. This does happen!' Message received.

Rehearsals 'are almost more important than concerts' was another comment. 'Don't be over-conÞdent, don't brag, and don't be pushy - no sharp elbows please! Remember, players must be aware of teamwork.'

First date with an orchestra? 'Don't say too much. Don't get involved in any politics. Have a quiet drink afterwards. Go home. That's the most golden rule in freelancing.'

'Tact is essential. For example, don't draw attention to yourself by practicing concertos backstage. Don't play the principal's solos backstage. Don't comment on the principal's performance. Your opinions may be well-founded, but you're unlikely to be asked back.'

 Depping

To survive in the profession today, you may well have to explore other skills such as music administration, computer programming, counselling, physiotherapy and so on. In addition to your orchestral work you might also think about working as an arranger, or an editor...as an initiator of education projects or getting involved in theatre work. And of course there's the vital area of teaching.

 New Opportunities

Always remember that the calling to be a freelance musician comes with the unavoidable calling to be your own administrator. When it comes to managing your career you need a diary service, answer phone, mobile phone, an e-mail address - and you need to respond to messages fast!

 Technology

 General Advice

Tom Hammond emailed to say how important it is for musicians '...to have a willingness to embrace educational work as an important part of their schedules. Education work should be taken as seriously as any performance, and can prove both satisfying and financially rewarding.' Steve Stirling has taken things a step further. 'I've developed a one-man lecture recital that I can adapt for all audiences, young and old.'

Clarinettist Joan Lluna says that ' you have to be prepared to play any sort of music today, and to be doing extra activities on the stage. Lots of groups, orchestras, companies or individuals have to really think of how to present their audiences with innovative programmes. They have to think about how to make their offerings appreciated by a wider audience.

Don't stand still in your career and present a sitting target. Keeping the wolf from the door requires practical thinking. Horn player Julian Faultless commented that he played recently in a freelance section of five '...where every single player except one had already thought or was thinking about finding an additional way of making a living. And the odd one out was thinking of moving abroad!'

And in the gloomiest moments? Well, how about framing this line from one respondent and hanging it on the wall? 'I always look back through my diary, never forwards! It usually makes me feel better!'

And never lose sight of what it's all about. Clarinettist Ian Scott sums it up: 'I sit in the concert hall waiting to play a solo. The strings start playing pianissimo, I put the clarinet to my lips and then I begin - I'm in command. You can't put that feeling down in words. The Festival Hall is packed. The conductor gives you the eye. I start the glissando in the Rhapsody in blue - I really milk it and make it last longer than It should. I have total control of the piece at that moment and when it comes off... well money cannot buy that sort of buzz!!'

Or to put it simply, in the words of Rachel Bunn 'Only after you've spent time in an office can you begin to appreciate the freedom of orchestral life!'

Andrew Green

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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.