No, it is not that strong, but just owning a double bass will secure you the gig. Ha-ha.
A player has to retire after 40 years in the same orchestra. So he approaches the director asking if he could take his beloved "bride" into his retirement, the bride he spent 40 years with. The administration people & the director agree after a very short discussion & let the player leave with his instrument as a gift, accompanied by their well wishes. Arriving at home - living in a flat - he shoulders his instrument, which is enveloped by a brown cotton sack, walks into the appartement building, taking the elevator up to his flat in the 4rth floor. Both hands busy holding his instrument, he just rings the bell. His wife opened the door & exclaimed full wondering: "Heavens sake, I did not know, you were a musician !" ################################################################## Am 11.08.2010 um 17:55 schrieb William Gross: > Wandering abit. . . > > That's the thing about amateur orchestras, be a string player. No matter > what quality you are, once in, you know you always have a part to play. Not > so with with winds. > > On Wed, Aug 11, 2010 at 10:38 AM, Hans Pizka <[email protected]> wrote: > >> Hello DJF, >> >> do you think, I have time to read all the newspapers around the world ? >> Surely not. >> >> hiring freelancers for to fill vacancies can be cheaper than engage with a >> new player for that particular vacancy. But you forgot, that >> principal wind vacancies require superb players, most experienced players >> (no extra rehearsals for them, often be called at last minute) >> dont play for a set tariff per rehearsal, per performance. Filling a prime >> vacancy by "substitutes" could cost more than engaging the new >> player. Imagine, the manager has phoned around for two or three days to >> find a replacement for the acting principal, as he has become ill >> unexpectedly & the real principal position is vacant. Finally the manager >> finds a player in Boston, St.Louis or Los Angeles or even in Berlin or >> Munich to save the performance. Imagine the extra costs, please. >> >> Fiddle players or section players can be found everywhere plenty. The main >> problem comes from vacancies on first horn, first oboe, first trumpet e.g. >> And good players have their price. Even freelance concertmasters can be >> found easier. Concertmasters for 2nd violin or percussion, no problem. >> Another moves up. Viola, the same, bass the same; cello not that easy but >> works too. >> >> >> ################################################################################################################# >> Am 11.08.2010 um 16:26 schrieb PatentDan Feigelson: >> >>> Hans, did you see the article last month in the New York Times about the >> large number of vacancies in the NY Philharmonic (not just in the horn >> section)? It could have been written by you. The article mentioned that >> it's not a lack of talented players but more a matter of finding someone who >> will fit into the section that has resulted in so many vacancies. If >> anything, the number of talented musicians in New York means the >> Philharmonic can take its time filling the vacancies, since finding a >> substitute or extra for any particular series isn't difficult. >>> >>> DJF >>> >>> Message: 14 >>> Date: Mon, 09 Aug 2010 17:33:24 +0200 >>> From: Hans Pizka <[email protected]> >>> Subject: Re: [Hornlist] Glazunov Reverie >>> To: The Horn List <[email protected]> >>> Message-ID: <[email protected]> >>> Content-Type: text/plain; charset=us-ascii >>> >>> But then I have to ask you, how it comes, that many high ranking & very >> well paid positions remain vacant for years ???? >>> My orchestra, just an example, has three horn vacancies out of total ten >> positions. But they are vacant since two seasons (my former position, which >> was occupied by a young lady for just a year, as she did not make it >> further), respectively for over one season (a low horn & a third horn). They >> had several unsatisfying auditions, ceased after the first two rounds. >>> >>> Many first horn positions vacant, waiting several years to be filled. >>> >>> How come, if there are so many superb players out there ??? >>> >>> Technical skill & perfection is just one side of the medal, serious >> musicality & knowledge the other side. >>> I will not talk about experience, as a superb & ambitious player will >> gain that in a short time in the job. >>> Being an excellent musician requires also vast knowledge about culture, >> musical history, composers, >>> harmony, intuitive reaction to the unforeseen in the literature, prima >> vista play, which means >>> jumping into the music, taking on the composers skin & dive in, >>> also serious appearance on stage or even in the pit & a lot more. >>> >>> And as a surprise, some players fresh from music academy will get the job >> finally. Why ? They did not >>> look to left or right, having their target in mind - the top of the top - >> ALWAYS. They are the most >>> self critical players who do never give up. They know their limitations >> at all stages. >>> >>> >>> >>> _______________________________________________ >>> post: [email protected] >>> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.net >> > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
