Dear Alma, This festival doesn’t pay
OrchestrasDear Alma,
I am a young-ish member of a fast-rising ensemble. Right now we are at the stage where we say yes to everything. We have to. For financial reasons and for networking and for building a name for ourselves. Here is my problem. Our group is matched musically and talent-wise. But not commitment-wise. We have an offer from a summer festival, and we are available. After travel etc., our take-home fee is not great. But it’s a good festival. Three of us want to do it and one doesn’t. And it’s often that way. This person happens to have financial support from their family so they don’t see why we should take stuff that doesn’t pay well. But the rest of us don’t have money. Should we be looking for a new member or just forcing that person to go? Or what? I don’t know what to do.
Fighting for my Career
Dear Fighting for my Career,
That’s a tough one. Replacing a member or trying to force someone to do something they don’t want to do. Neither is pleasant. I suppose you don’t have management yet – this is a perfect dilemma to have an outside opinion on. What about a mutually trusted teacher or coach, someone who has offered guidance before? It does seem like a big issue and one which needs to be hashed out and looked at from many sides. There is probably a middle ground somewhere, and if you can avoid a fight over it, you just might find that solution.
Replacing a member takes a long time – I would say a year looking and a year settling into the new sound. If you like your members and are well-matched, I strongly suggest looking for any solution possible – having a good, long talk. And then maybe a second talk a week later, after you have all thought things through.
When I was at the beginning of my career, I was in a group with someone who was independently wealthy. I was dirt poor. On tour this person would opt to stay “at a different hotel”, and often would eat “at a different restaurant”. They didn’t like to do the concerts that didn’t pay well (and I could never understand that – they didn’t even need the money). In the end, after a handful of very satisfying years playing together and laughing and growing together, we looked at each other, and with long, deep hugs, said goodbye. It was lucky that we never traded harsh words, and I often smile or chuckle thinking about this or that adventure together. And that’s what it is, Fighting for my Career, one big adventure. Cherish this time, remain calm through discussions, and you will also look back at this time with a smile on your face.
Questions for Alma? Please put them in the comments section or send to DearAlmaQuery@gmail.com
Nice skate, Alma — but this person is looking for a now solution, not for the time when he can look back and laugh. Your suggestion to talk things out or get a mediator is a good one. But I would imagine there has been a lot of talk so far, and that although there may have been the odd compromise, the well-off player has already drawn his line in the sand.
I know it’s a big ask, but what about a sub? Initially for the Festival only? There are a lot of very able, very willing musicians who might jump at the chance to get a chance to perform publicly, even for a small fee.
I am also wary of a well-to-do player who declines gigs that do not pay well. He of all of you can afford to do this, and if it is, as you say, a good Festival, you have to wonder why he is involved in professional music at all. While nobody chooses music as “a way to make a living,” those who train for years and learn their stuff do hope to make a living from it. That this person can make an assessment that affects the rest of you so badly makes me question why he is with you at all, however harmonious his playing.
Anyway, how are decisions made in your group? Surely there is a vote? He is clearly in the minority on this one. If you think it is that important, make it a deal-breaker. And get looking for a replacement, and make sure that he/she knows the rules coming in — no job too small, and majority decisions.
It does seem like they need to have a deeper discussion. If a vote happens, it’s as good as kicking the person out. It won’t really solve the bigger issues. If they have already begun a career together, the momentum together is worth working it out.
They could contact the festival and see if there is any travel fund. Often festivals “hire” a young group, almost like an intern, for very little money. But they may be able to help in some way.
It is for sure worth finding a solution. Finding another player is really tough and these kinds of offers are normal at the beginning of a career. Maybe an agreement that they take almost everything offered for one full year and then re-asses.
The question that needs to be considered is whether the festival’s offer is negotiable. Given that one of your colleagues is adamant about walking away from the offer as it stands, you have relatively little to lose by trying to ask for more. Occasionally, you may be surprised at how much leverage you have, although one should not get one’s hopes up (the scenario sounds like a buyer’s market, to be honest). Establish with your colleagues the minimum fee/offer that would be acceptable to all four of you for this particular engagement, and agree to pencil the dates pending an attempt to negotiate with the festival. Then, contact the festival, explain that the fee on offer is too low (it is up to you whether you disclose the 3-1 split — probably not a good idea, unless you are up for performing the gig as a solo, duo, or trio instead, but that would depend on whether you can find suitable repertoire and rehearsal time for the reduced lineup), and ask for a higher fee (depending on the culture and your negotiating skills, you may wish to request something higher than the minimum you have agreed with your colleagues). If an acceptable offer is forthcoming, you take the gig and enjoy the better remuneration; if not, you respect the wishes of your colleague and decline the gig as an ensemble (you could consider offering to perform as a solo, duo, or trio instead, although it would probably not be appropriate to use the ensemble’s name in that context).
There is a lot more to a group than concerts. Maybe that is why they should take some time to work out their differences. There is the ability to handle business, to make the website, to keep social media active, not to mention the musical part and rehearsal part. How to accept or reject gigs is only a small part of their work together. And it will get more complex as they start to have families and other jobs such as teaching positions. If this is the only thing wrong, learning how to navigate this and share opinions is correct. Alma is right to caution against heated debate or kicking a person out.
You need to replace that member if they can’t go along for the good of the other three.
??
You (Alma) wrote: “Replacing a member takes a long time – I would say a year looking and a year settling into the new sound.”
And sometimes, it takes one rehearsal and the players KNOW/FEEL – “this works.”
No need for 2 years looking.
This post really lacks context to have ANY meaning nor insight into the situation. I no longer do ‘serious’ classical music stuff, except my own projects, so I’m unaware of what festivals are available… What does a ‘not great’ fee mean? What does young-ish mean.
are the members of the group undergraduate students? grad students?
is the festival offer for a single concert or a multiple week ‘residency’? context matters!
There are a lot of exploitative festivals in America and abroad that take advantage of young and eager musicians – I’m talking about numbers like $1500 TOTAL per musician for 4 weeks. Or worse! But for an undergraduate quartet, numbers like this arent THAT bad. for graduate or young pros, it’s insulting!
assuming it’s one of these exploitative offers, I say turn it down and stick with the smart member! These bad opportunities won’t go away unless musicians say no!
But the original post has no context!
What is helpful advice – research all the groups that have performed at this festival in previous years – does playing at this festival have any correlation with future success? (correlation doesn’t mean causation, but it’s still.helpful to assess).
good luck!