Great Expectations
In response to Douglas Fisher’s recent post: This is a difficult one to address – I’m sure that as students we may have all gotten somewhat frustrated with spending a month learning two large orchestral works, but I now look back on those years and feel grateful when I play Brahms and Mahler Symphonies.
Many orchestral repertoire teachers do indeed go through large amounts of repertoire per semester, not only to assist their students with audition preparation but also to familiarize the students with what can be an overwhelming amount of music (I’m now on a break between two children’s concerts and the first rehearsal for the second of THREE programs – all different music – that will be presented this week).
I can also, as many of us can, thank Carl Topilow for the National Repertory Orchestra, during which attendees (who are selected from a large pool of applicants) play an average of two programs a week over a nine week period.
In response to Timothy Judd’s recent post: This is a very interesting question and of course, matters like this should be addressed between management and musicians. While I was a member of the New World Symphony Michael Tilson Thomas made a point of stressing that “our job” was to make sure that our business survived. Of course that does not answer the question, but I think that part of our “role” is to help create new audiences. Granted, I’m sure that we all in some way do that regardless of whether or not it is requested (offering comp tickets to our neighbors, acquaintances, doctors, etc.).
Having also worked in arts administration, I do have to say that fundraising is NOT easy, even for the best development directors. Being an orchestral musician, our “job” in relation to being fundraisers may be to simply be available and to do so both willingly and graciously, as the donors, ticket buyers (and I say this knowing some of the reality of operating budgets) are our public.
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