Classical Music Careers?

Cakey

I'm hoping someone knows something about working as a classical musician, 'cause I sure as hell don't. A friend of mine, a violinist, is kind of at a loss as to what to do with herself right now. She just finished up at what I guess is a middle-range (not super prestigious, but pretty good) music academy, did some auditions for the big local symphony as well as some smaller orchestras, and just can't seem to break in.

She's got some other friends trying to get her to try to get into something more practical like music production (obviously this would require some technical training first) but I think she feels that would mean giving up. I'm not sure-- like I said, I don't know that world. Maybe that's a common belief.

Anyone have any suggestions? Insight into classical music as a career path? Into the psychology of classical musicians? She seems to think she'll lose all respect from her peers if she isn't performing in a strict symphony setting -- is that even true? Could I be asking any more questions?

Thanatos

Classical music requires a ridiculous amount of dedication. If you're a violinist, you're in the most competitive section as far as jobs are concerned. By "some auditions," do you mean less that fifty or sixty? Because if she's getting put off by being rejected by her first ten auditions, she needs to grow a thicker skin fast. She'd better get used to it.

Cakey

That's actually kind of encouraging. I don't think this academy gave her much in the way of practical career advice. Or, you know, any kind of meaningful interaction with teachers beyond berating.

supabeast

Music is one of the fields where you need to have a day job; if you’re lucky (and don’t hate kids) you can at least work as a music teacher. The only classical musician I’ve known who actually made a living is in the Air Force band, supplemented by giving lessons.

Fireflash

She could also try to find little jobs, like playing a violin part for a recording in a studio, be it for an ad or part of a soundtrack. I dunno how hard it is to find work like that, but my music teacher used to hunt for little contracts like that when he couldn't have something more permanent.

And teaching music could be an option, if she thinks it's something she could enjoy.

Thanatos

Cakey wrote: »

That's actually kind of encouraging. I don't think this academy gave her much in the way of practical career advice. Or, you know, any kind of meaningful interaction with teachers beyond berating.

Yeah, her school should have a gig service of some sort, which should be able to line her up with paying gigs. She should be teaching music, too. I'm surprised she doesn't know all this. Does her school have any sort of job or career center?

Solvent

I was in a music degree, but transferred to a different one before I finished. So I don't what it's like to be a working musician, although I know quite a few people who are trying it.

Anyway, around here, the idea is basically that if you want to get into a Symphony Orchestra, you need to wait for someone to die. Then audition against the thirty other people who wanted that guy/gals place.
That's discouraging, I know. But that's how it is here, and I don't think that would be unusual for other places either.

Besides teaching, the most work I hear classical musicians getting is pit work for musical theatre. I hear that can be quite a lot of fun as well. As I've never tried it, I don't know exactly how those groups work, whether they regularly use the same bunch of musicians or if different companies audition new musos every time they put on a show.

EggyToast

My parents know a guy who plays upright bass and gigs with 3 or 4 different groups regularly. Some jazz, mostly orchestra. He's very busy and fills his free time on weekends with playing music. Since he loves it, only a portion of it is paid -- the rest is local volunteer stuff that he does because, well, he loves music.

For his day job, he works as a postal worker sorting mail.

If she's looking for prestige and earning over $100k by playing the violin in a major orchestra, she needs to practice like hell and audition like crazy. As Thanatos mentioned, violin is the worst due to how many are typically in an orchestra and the number of people who play it.

However, most people who play an instrument professionally also hold a day job to pay the bills. They do it because they want to play said instrument no matter what, and screw what other people think.

But she's going to have to do more than just audition locally if she's serious. My teacher does tape auditions all over the country and is pretty much willing to move anywhere in order to get a serious job.

Tube

She should audition for everything, even gigs she doesn't really want. It's all experience. She should maybe consider setting up a quartet for weddings and whatever, it's good work. Teaching is the closest you get to a day job that involves music.

lordswing

Cardboard Tube wrote: »

She should audition for everything, even gigs she doesn't really want. It's all experience. She should maybe consider setting up a quartet for weddings and whatever, it's good work. Teaching is the closest you get to a day job that involves music.

Weddings are definitely good work, and can be quite fun as well (the songs are all cheery, and I was just in a good mood after playing them through) and you also get all the good food (try to get foreigners, I played at this Brazilian wedding, AMAZING food).

saggio

There are a number of options for any classical musician:

1. More schooling. Go to Europe, find a prestigious player that will take you on, and study your instrument more.
2. Become a session musician. Learn how to sight-read really well, and play short little bits for pop records. It can pay pretty consistently.
3. If you want to play for an orchestra, you have to audition for EVERYTHING. Even the small professional orchestras, not only in the US and Canada, but also in Europe, South America, and Asia. If you are really serious about playing in an orchestra there are plenty of opportunities - you just have to audition like a madman. A good way of getting into the good-books of an orchestra is through freelancing for them. The two current bassoonists of the VSO both got in when the original principles left, but they got in because they had freelanced for the orchestra before and had both held temporary (1 season) contracts. So when a vacancy came up, they both got rights of first refusal before an open audition was held.
4. Local gigs - as someone mentioned, this is basically playing in pit orchestras for musicals and operas. It pays decently - probably more than the actors, and if you double you also get paid extra.
5. Form your own chamber group. This is what I want to do, as I absolutely love, love, love chamber music. If you can find three other like-minded string players, you can form a string quartet and play private gigs and the like. Hotels, weddings (although I'm told weddings are terribly boring to play all the time), put on your concerts, or if you are really serious, tour and make records like most pop musicians do.

All my music professors always tell me that the typical career path of any musician is school--->freelancing--->permanent orchestra job/private teacher--->university/conservatory instructor. But they also say that if you are consistent and persevere, you can build a career anyway you want. I once had a lecture from a bassoonist who freelanced for awhile, but instead of looking for an orchestra job, he promoted himself as a soloist. He found it hard - at first - but after he debuted a few concertos and solo pieces, he found he would get calls from the orchestra themselves more and more to be a soloist for them.

Hope this helps.