Posted by Jay Bertolet on February 22, 2000 at 09:38:54:
In Reply to: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Civic posted by doubler on February 22, 2000 at 00:31:07:
It isn't really that I disagree with you so much as I think your logic has skipped a step that you may not have seen. You're absolutely correct in stating that the competition at a higher paying job is stiffer. That is because more people go, many of them experienced already in the art. But in auditions, it invariably comes down to a handful of people who can all do the job wonderfully. At the higher paying jobs that is a much bigger handful, but it still comes down to a choice based mostly on individual tastes and who is having the better day. In my original post about the quality of orchestras, I believe I said something like "the quality of the musicians and their compatibility as an ensemble" or words to that effect. This is the difference between a good audition committee and a bad one, in my opinion. The good audition committee selects the player that will fit the best with the ensemble from that last handful. The bad committee selects the best player at the audition without regard for how they'll fit in with the section/orchestra. Like I said, at the end of the process you're left with a bunch of folks who can all do the job. The shrewd audition committee picks the one from those that will be the biggest asset to the orchestra as an ensemble. And all of this has just about nothing to do with finances, but more with blind luck. I think the money only helps draw more people to an audition, which makes the odds better that you'll find that special player who is in the final handful and who is a good match for the orchestra.
The other thing to consider is time. Since jobs come open so infrequently, an orchestra has to have an audition at a time when good players are available for hire. Obviously, there are always players around, but really great players are in demand and they have to be interested and available for the job. So timing is also key.
I think one of the things I've learned since being a professional is that I am constantly amazed at how many really good orchestras are out there. Trying to compare how an orchestra is paid with how well they play has never worked for me. I've just never found any real basis for comparison because I've heard too many low paying orchestras that sound really great. I've come to the conclusion that these orchestras sound great not because of the money but because they want to sound great and they have a group of musicians who work well together. That's really all it takes. My opinion for what its worth...