Community Orchestra: How to Keep or Lose Members
Playing in a community orchestra can run the gamut from fun and fulfilling to frustrating and disappointing. One can look forward to rehearsal or take it or leave it. What makes the difference?
I spent my career as a psychotherapist who was trained in "Systems Theory." In short, systems theory views groups that work together to make a complete whole as "systems." For example, families, corporations, work groups and... orchestras. Systems theory helps us interpret a group’s problems and develop intervention strategies. As such, it comes naturally for me to think about how groups function or, in some cases, dysfunction. As a violinist, I became very aware how orchestras, like other systems, have their own "culture," values, hierarchy, leadership roles, boundaries and limits.
When analyzing a "system," it is far less useful to ask "why" something happens and far more important to ask "what happens when" something happens. We all know that membership in an orchestra can be somewhat fluid. Some people come and go. Some stick around for years. So, how does an orchestra create a cohesive environment and become a group of attraction for other players? If you are a leader within your group, e.g. conductor, concertmaster, section leader or President ask yourself this question: "Why should someone want to join your 'system?'" If you believe the answer is simply because "musicians want to play," you will likely have a membership with little commitment to the group.
Orchestras often have rules of etiquette that members are expected to follow. A good orchestra ensures those rules are adhered to. Typically, these rules embody respect as a "value" in the form of coming prepared, not talking or rehearsing sections while the conductor is talking, attending regularly, showing up on time, etc. Such rules help create the "culture" of the orchestra. An orchestra that fosters a culture where its members feel they are part of a group that fosters harmony, mutuality and respectfulness will stand a better chance of attracting and retaining members.
What happens when a conductor, concertmaster or section leader allows members to disregard these rules, or is inconsistent in addressing them? The "value" of respect becomes meaningless, as do the boundaries and limits set forth in the rules of etiquette. Furthermore, it influences how well the group performs. What happens when some members are allowed to flout the rules? Such behavior translates into disrespect for the other members and generates undercurrents of frustration, resentment and discord that can impact performance. How would you feel if you practiced faithfully when others come unprepared? Or rush to get to rehearsal on time when other members’ inconsistent attendance is tolerated? And, when new members see that such behavior is allowed, they may behave likewise.
It is also not uncommon for community orchestras to solicit accomplished paid or volunteer "ringers" to strengthen their sound on concert day. What happens when these non-members show up? Well, it depends. Consider each of the following scenarios, then ask yourself "what happens when" and the potential impact of each:
1. Prior to a concert, leadership informs orchestra members that outside players have been hired or invited to play with the group on concert day to bolster the strength of the group. They may also be informed that these players are required to attend 1-2 rehearsals and that orchestra’s seating arrangements will not change as a result. Finally, leadership makes it clear that, while these players are welcome, they are guests who will behavior accordingly or will not be invited back.
2. No one informs orchestra members that outside players will be joining them for 1-2 rehearsals or on concert. Instead, some members show up for rehearsal or on concert day only to find a stranger sitting in their seat. After sorting out the confusion, the new players talk with their stand mate throughout, asking questions about conductor instructions, preferences, etc. or make suggestions for changes. A few, knowing they are better players, choose to show off and seek attention for themselves.
Respect is a two-way street and needs to be mutual. For example, conductors need to ensure they have selected pieces that are within the playing level of the orchestra and conduct according. A conductor who pushes the tempo beyond member’s abilities, rather than slow it to where the orchestra can keep up and perform it well, is not respecting the musicians or the music.
A musician friend said he once played in an orchestra where the conductor was unapproachable, retreating to his office during break and immediately after rehearsal was over. He later joined another orchestra and was pleasantly surprised when the conductor approached him, along with a few other newbies, when he arrived. The conductor was genuinely interested in what instruments he played, what music he’d played in the past, which groups he’d played with and shared his own playing experience.
Mutual communication is essential to a successful orchestra. Members need to feel free to ask leadership questions, request a do-over, make suggestions or ask for clarification. And, section leaders should signal they are approachable, willing to help others and provide constructive feedback to players where needed.
One year, an orchestra I played with announced the music selections for our first concert of the season, which included "Danse Bacchanale" from the Camille Saint-Saens’ opera, Samson and Delilah. The sheet music I received was so faded it was impossible to read, and the librarian said they had no other copies. So, I bought a new copy for myself. After practicing it for several weeks, I arrived at our first rehearsal only to learn the conductor scrapped the piece, deeming it "inappropriate," because our venue was a church. One player reminded the conductor that the story of Samson and Delilah appears in the Bible. Another noted that our local audience wasn’t likely to know it was from an 1877 opera or even know who composed the piece. Protests fell on deaf ears. One player raised their objection to the President and indicated they would have to reconsider their membership should more such incidents occur. The response was, in short, "We’ll miss you."
Under the best of circumstances, membership in an orchestra can be fluid. However, it is the "what happens when" occurrences, and the feelings they generate, that will be passed along to others outside the orchestra. And, it is how those occurrences are handled that will determine an orchestra’s appeal and, ultimately, it’s performance. Orchestra is a team sport. Orchestra leaders who generate a team spirit stand a better chance of attracting and retaining players who will work hard to ensure the "team’s" success.
You might also like:
- The Accidental Violinist
- The Importance of Arrangements for Amateur Ensembles
- Discussion: The ways and wherefores of community orchestras
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Thank you. I imagine most musicians can relate to some, if not all of it.
All good advice but the question arises, how to decide upon and implement these "rules of etiquette"? Some of the orchestras I've played in, good and bad, have been if not the creation then effectively the personal fiefdom of the conductor. Others operate as friendly meeting places where the thought of following any kind of rule book would be anathema. Every orchestra has its own musical and social dynamic that evolves over time.
Something what really works in our own community orchestra is absolute silence and concentration during rehearsal. When new members come to their first rehearsal, they notice this of course and are immediately impressed by how serious we are about that. During breaks we are just a bunch of friends!
I see a lot of my two amateur orchestras reflected here. The more serious rehearsals happen in the group that has institutional (municipal) backing, but also an organized and disciplined director: works for rehearsal are pre-announced each week and in the right order, rehearsal starts and finishes on schedule, for example.
One of the city's symphony orchestras sells very affordable tickets - not the entire hall - for final rehearsals on Thursday morning. I have wondered about taking my other orchestra to one of these sessions, and then holding a symposium or asking them to submit a 500 word report. (Despite retirement, a schoolmaster instinct kicking in there!) I hope they'd notice:
- there is no talking except for instructions/reminders from the director, or brief interaction between concertmaster and director.
- everybody has tuned beforehand: a brief check is all that is necessary.
- once rehearsal starts there is no noodling or practising.
- at the coffee break everyone moves swiftly and returns on time.
Ah well, we can dream!
Of course it's not just the players that should observe some behavioural "guidelines" (sounds more friendly than "rules"). I wish every conductor were as disciplined as ours. He's always ready to start on time and has planned the rehearsal fully in his own head. Little or no time is wasted dithering and working out technical details that only involve a section of the players. He's also the most genial and laid-back character I've ever come across on a podium!
Some orchestras are more relaxed than others. Ours is pretty relaxed -- for starters we don't even have auditions. I'm the CM, and I'm happy when the group is reasonably businesslike, but we'll never be super strict. But, there's a limit to what I can tolerate. Last semester we had a player who was whistling constantly whenever the orchestra was not playing. Conductor giving instructions? He whistled right through that. I mean he whistled ALL THE TIME. He probably doesn't even realize he's doing it. Unsure what to do, I asked the conductor to deal with it. We don't really have a manager.
I'm sure orchestras other than ours struggle with what to play. Dvorak No. 9? Exhilarating but too darned hard. Pops arrangements? Too low-brow for the serious folks. Accompanying a clarinet concerto? Some players said that would be too boring.
Fortunately our music director / conductor is a good musician (he is a violinist) and he has all the soft skills to do the job effectively.
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July 25, 2024 at 06:38 PM · Very interesting and recognizable analysis, thanks!