Most of you are aware that there is a probation period for all new musicians who enter the orchestra. In our case, it’s a two year process. It’s all set out in our CBA (collective bargaining agreement), a timeline which governs the whole thing. There is a number of members of the player’s section and
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What does make an orchestra “good” or “bad” or “mediocre” or “great”? It seems like it should be a simple matter: better orchestras play with more precise and adaptable rhythm, pitch and dynamics than lesser orchestras do. But we’ve all been to a Big Five orchestra concert which was severely lacking in one or all
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We learned yesterday that our superb concertmaster of two years, Amy Schwartz Moretti, will be leaving us after the new year to direct a new string center at Mercer University in Georgia. Amy is a treasure, and it’s hard to see her go, as her sparkling playing and personality have been a huge bright light
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We just had an Arnica Quartet dinner meeting the other night to nail down a couple of concert dates and also our repertoire for the coming season. We’ve got two concerts lined up so far for the Fall, the first a noon concert at Pacific University on October 3rd, where we’ll be playing the Haydn
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I read the most recent issue of Senza Sordino (the journal of ICSOM or the International Conference of Symphony and Opera Musicians) at work yesterday, just before our second of two Garrison Keillor concerts (great fun, and absolutely worth the money if he’s coming to an orchestra near you soon – in this case I
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If you’re into hearing state-of-the-art viola playing, look no further than the newly-released second solo album of William Primrose transcriptions played by Roberto Diaz and pianist Robert Koenig. Diaz’s first CD was a collection of works by Henri Vieuxtemps, also with pianist Robert Koenig. The Vieuxtemps CD was performed on his Camilli viola of 1739,
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happy birthday to me!, originally uploaded by nobleviola. If I told you how old, I’d have to kill you…
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Word came of the recent settlement of a new contract for the Boston Symphony. In years past, the rates of pay for substitute and extra musicians (which are filled by freelance musicians) was locked to the rate paid to contracted members of the BSO. This contract cycle the rate for freelance musicians (which includes the
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