LA violin blogger gets called in by the LA Phil
OrchestrasLaurie Niles, an LA freelancer, writes violinist.com, essential reading for strings players.
One day she got a call from her local band:
… In late February, I received an e-mail from a personnel director whom I’d never heard of: “Are you available for these dates?” As the longtime editor of Violinist.com, a longtime free-lancer and a teacher, I get a LOT of e-mail, a lot of not-doable requests, a lot of spam. My first assumption was, “Hmmm, this is probably some non-union gig that I’m going to have to politely decline…”
“Yes, I am available on those dates,” I wrote, and quickly pressed “send,” feeling like I was doing something a little naughty. Because of course they were not actually trying to ask me to play. This was a mistake or joke or mix-up. For sure.
“Great Laurie! You’ll be in the first violins, eighth stand!”
WHAT? Okay, look, first of all, I play second violin. The last time I played first violin I literally had a panic attack on stage…
Will she? Won’t she?
Read on here.
In other news Berlin Philharmonic welcomes the TwoSet Violin guys to first violins section. Not to be outdone by LA and Berlin, NY Philharmonic welcomes Lindsay Sterling to guest concertmaster role. LA returns with David Garrett as new concertmaster. Concertgebouw, rolling eyes, enlists André Rieu as resident soloist and Master of Concert role. Feeling left out, London Symphony contracts King Charles as Kingcipal (his term) cello. And finally Vienna Philharmonic outdoes them all: An internship for a Korean violinist, female.
indeed, it’s a slippery slope.
You’re being a bit unfair here Gerry, aren’t you? Laurie Niles is obviously a trained professional and prepared for this important opportunity like a professional would. She wasn’t hired to play the Ein Heldenleben solos. How does she compare with the usual member of the LA Phil’s sub list? I have no idea. Who here does?
Also I suspect Brett and Eddy from TwoSet could more than adequately sit in with even the Berlin Phil for a concert, just as I suspect David Garrett if he set his mind to it could handle most concertmaster solos and the concertmaster role, at least until his hair salon appointments interfered with rehearsals.
Mr Nelson, your comments are always kindhearted. If you believe the TwoSet kids could “more than adequately” fit into the Berlin Phil, I believe you are only either an amateur musician’s parent or a an advocate for DEI where technical, musical, and stylistic ability are welcomed from a wide spectrum.
The TwoSet have the comedic genius of two teenagers goofing around and the musical genius of an average undergraduate music student who gave up on Juilliard and settled for state school.
David Garrett could handle the Strauss solos, but have you heard him play chamber music? He might fit in to the espresso cup depth of the LA Philharmonic, but I would hardly say he would fit in as a music personality.
I am happy blogger Mrs Niles had this opportunity, but naturally a little bit disappointed she enjoyed privileged status over one of the numerous LA violinists regularly fit to play given her prose. A nice gig, if you can get it.
Gerry – Laurie Niles IS one of LA’s numerous violinists. They freelance, they do studio work, they teach & they have day jobs. Hers happens to be blogging.
An unhinged comment from Gerry? That’s new…
Oh dear. You haven’t a clue. No audition, even as a sub?
I think it’s a tricky balance for these big organisations in a digital age when new and younger audiences are coming to classical music through social media and figures like TwoSet Violin. On the one hand, the orchestras need to engage with this world to stay viable long-term, on the other maintaining their identities as elite ensembles is obviously vital. Professional musicians with large online presences like Brett, Eddy, and Laurie seem like the perfect compromise, but its definitely a tight-rope to be walked.
Mr. Feinsteen: So, have you ever heard Laurie actually play? I suspect likely not. I suspect you haven’t a clue how capable she is, or how she compares to other freelancers. Yet you think yourself qualified to heap a mountain of sarcasm on the (very talented) lady. It is not nearly as amusing as you believe, but does cast a very sour reflection on one person- you. Not every violinist can be a Milstein or a Szeryng. It is usually considered the most difficult of all instruments, and those playing it well should command the respect of all. Even you.
I didn’t mention Mrs Niles once in the original post. Any sarcasm you inferred all on your own. The point of my post was more critical of the Vienna Philharmonic than a violin blogger.
I haven’t a clue about her violin playing, but in her article she seems to be overwhelmed sitting in the back. We can imagine she earns enough bucks to survive in (the imploding city of) LA with her blog and teaching. No?
How about a young professional on the audition circuit: he/she/they/zie/sie/ey/ve/tey/e
might have some bills to pay. No?
You come to her defense with such gusto: The LA Phil heard her twenty years ago.
She’s built a wonderful blog. Neat layout.
Maybe she’ll get a special post in BSO, Boston’s best orchestra.
This is great! Wonderful for Laurie, her readers & for the LA Phil. It was a smart move by Nathan Cole to call her in. She writes a terrific blog, read also by many non-string players, and sharing her experience for all of us to read is exciting. It’s also good PR for LA Phil. It gives us a positive, fresh inside look. This was a real win-win for everyone!
This reads as though it was written by someone in the LA Phil. Isn’t it false advertising to pay for a ticket to hear the LA Phil and be presented by subs who probably wouldn’t pass the initial LA Phil auditions?
No, I don’t even Iive in LA, actually.
Your point is naive. Why not ask some of other pro orchs – notably in London – how they schedule tours & simultaneous concerts under the same orch name. They use subs. Pro orchs do this all the time.
It’s the Royal Philharmonic, I believe, that’s raised the most eyebrows on this, isn’t it? How many subs is an orch allowed in a concert & still advertise & use the orch name?
Laurie was one sub. Are you seriously saying a pro orch with a busy concert schedule should never use subs who are not permanent orch members?
That would throw the entire pro orch profession out the window. Freelancers would never get important orch experience, orchs would have to cut back their schedules & tours. Regular players would never be allowed to be sick or miss work for any reason. Subs make all of those things possible.
Quite scary that a player who trembles at the thought of performing a first violin part can be contracted by a major orchestra – even for “just” a sub gig.
It’s lame either way. If the intimidation is real, then there’s no way she’s a competent freelancer. Freelancers take gigs and play them. They don’t fret and they CERTAINLY don’t secure and guess whether they can do first instead of second. A gig is a gig. And so that would be lame.
On the other hand, if it’s just false modesty then it’s equally lame because she’s being phony and self-promoting and why does the LA Phil, of all orchestras, need some blogger to come in for a PR gig?
Couperin: Nothing about how she was selected suggests that it was a PR move. That is an unjust assumption. It was clear the Phil had just already tapped all their usual suspects, and she is a frequent sub all over LA with a long, solid history. As for not being chosen twenty years earlier for a “permanent” chair, the competition for that is insane, and odds are very low for even spectacular candidates. That should not be held against anyone. Who knows, maybe if she had kept trying? Besides, great violin teachers are also pretty rare. That she is. Any violinist in LA will tell you.
I think you’d be surprised how many professional musicians routinely take beta blockers
Many if not most performers tremble before or during a performance.
If you want to see professionals do their jobs without nerves, go watch an accountant punching numbers.
Panic attacks sometimes have no correlation with the competence of the players. Argerich suffered them in the past. Maybe she still does. I’m sure there are other examples. No idea if Laurie did well on this occasion, but her admitting to such a trepidation is not by itself a disqualifying statement.
It’s the sub gigs that can be the scariest. You haven’t won a position, so you’re definitely going to be a bit under the microscope. If you mess up the sub gig, you ain’t comin’ back.
What a lovely, warm-hearted and positive story. Just what we need in these bleak times.
Best of luck, Laurie – this inspiring article should be read by all musicians who are setting out on their careers. The pictures and article seem to suggest that you are warm-hearted and, as such, you will surely be an inspiration to all those with whom you work.
What a wonderful article! I am a season ticket holder to the LA Phil and mother of an assistant conductor with the Dallas Symphony who started in Suzuki, has lots of violinist friends, and whose partner is principal horn with the Spokane symphony. They both still frequently audition and guest or sub so your tale was very relatable! My passion is listening to, reading and writing personal stories and I found your openness and descriptive prose terrific! Thank you.