The Boston Symphony is full of subs
OrchestrasA sharp-eyed audience member tells us that the orchestra playing at Tangleweood is made up one-third of substitutes:
Last night’s concert at Tanglewood listed 37 substitute players, only one identified as a student at the Tanglewood Music Center. Last weekend the number was 27. Most of last season at Symphony Hall there were at least 20 non-members playing each week.
The new Concertmaster has not played in at least three weeks. The First Associate Concertmaster has not played in years. The Assistant Concertmaster has been missing since the start of the 2023-24 season. The principal second violin has not been seen in 2024.
Is this normal?
Well, you wouldn’t get that from the Vienna Philharmonic at Salzburg, that’s for sure.
It is normal that workers get vacation days and use them.
Why would unionized orchestral workers have less labor rights than other unionized workers?
In any non-musical company, vacation schedules are staggered to a degree as to not interrupt the normal flow and integrity of the business. In this regard, orchestras should not be any different.
All orchestras should be full of subs — subscribers!
This is what Joseph Horowitz wrote after hearing the orchestra last February:
“We were seated opposite the first violins, about 15 rows back. I would not even call this section a section. It was an eclectic group of violinists, disengaged to varying degrees. At the rear were two ladies who liked to chat. They did so in between scenes. At times they barely moved their bows. At the end of the first half, when the orchestra rose to bow, it took them a long time to leave their seats and they did so chatting.”
https://www.artsjournal.com/uq/2024/02/the-boston-symphony-in-trouble.html
Just wait until the new concertmaster is there. The last stand will be bloggers and critics.
Did extraordinary violinists dismiss the BSo, and not the other way around?
I heard them a couple years back. That string section needs an artist concertmaster, not an online technique tutor.
Gerry Feinsteen fails to understand that the BSO’s new concertmaster’s stellar playing skills are not impeded in any way by his online teaching.
Perhaps Mr. Feinstein subscribes to the theory “those who cant, teach,” but really, it’s long past time new to put that one to rest.
Teaching and performing do require entirely different skill sets, but it’s very odd that Mr. Feinsteen mocks a top-level perfomer who has both.
I think those of us who didn’t grow up on violinist instagram idols have a better idea what an artist concertmaster is and can be. Violinists with excellent playing skills are a dime a dozen. Bravo to Mr Cole for his violin community and for his LA sub invitation to a blogger. He’s a positive spirit in an otherwise yucky music world.
However, his artistry, 2nd chair at best.
When I read this site, I constantly am redirected to a page seeking information from me, purportedly on behalf of a well-known telecom company (and am unable to continue reading Slipped Disc). I don’t know whether it’s spam or phishing. I do know that if Norman has anything to do with it and has received money for it, it’s a gross violation. If Norman has nothing to do with it, he should know it’s happening; it may be some kind of breach.
Haven’t heard of this before, will have it checked. It could be a bug in your system.
It’s called blessedbreakthrough and it’s a kind of virus. It’s just started happening to me here too. Literally this time as I was reading Barry’s message.
Our techs are onto it.
Thanks, Norman.
FYI, I’ve found the site to be glitchy on Google Chrome – sometimes pages don’t load, or the comments don’t load. It’s been fine for the last week or so, but there was a long stretch this summer where it was a constant problem. It worked fine on Apple’s Safari browser.
Funny, Carl, my up-to-date Safari browser and Mac OS 12.7.6 can only access SD’s homepage – each click on an article opens a ‘Bad Search’ page. No other site does this. (Also, super slow and buggy on Chrome v128)
I just today experienced the same intrusive pop up “come on” ads. They cannot be canceled out, and take up the full screen in my phone. Thank you for looking into it! (No response needed for this message; already done.)
It’ still happening. With me, it is a Verizon pop up.
It was extremely bothersome because you could not continue on Slipped Disc once that blessedbreakthrough site appeared. Your techs did their job well.
Happens to me too
It happens every time. Please fix this!
I’m having the same issue. It only seems to crop up on this site when I’m reading it on my phone.
I get it on my laptop, FWIW.
It’s been happening to me too every day for the last two weeks ish, mostly on mobile.
I, too, have occasionally experienced some bizarre re-direction while visiting Slipped Disc, but I just clear history and website data. This happens occasionally on other sites.
That said, my go-to would not be to float the idea that Mr. Lebrecht is engaged in any nefarious activity. I also am fairly astute at spotting political conspiracy theories…
Yes, this is the way it is now in ALL orchestras. It’s not just the “Big” ones either. Regional orchestras are the same. Most Union contracts only require 50% attendance now.
Cathy, that’s simply not true. In every orchestra I worked in I had to ALWAYS be there! The only exception being the Met Orchestra, where rehearsals are paid in addition to the salary. So, if one decides to be released from a rehearsal, the sub gets paid while the regular member does not. I don’t get where in the world you get your highly improbable 50%!!!
From unions. In black and white a lot of regional orchestras require 30-50% max
This orchestra is a travesty…. a shadow of what it once was years ago. Brass section especially. Tom Rolfs is the only standout. The rest (including those in his section) are a complete joke.
Ridiculous statement. It is in fantastic shape. As for the trumpet section, they are fab. And Tom Siders is absolutely on par with Tom Rolfs.
I saw them on tour in my city and they sounded absolutely horrible. The strings were a hot mess. Super boring- totally uninspired musically compared to other orchestras that come into town.
The Dirty Truth in the modern American orchestral system is really quite simple.
Managers know that employing subs lower costs substantially. Better to have competent subs than hire full time players (with benefits) while still figuring out what the Post Pandemic economy looks like and means to your endowment fund, ticket sales, and revenues (both earned and in donations).
The system also creates a “migrant” pool of players who roam from orchestra to orchestra for work that pays more than their home base regional orchestra. If they stay with friends or family, they actually can make more than working at home.
Pointing out the flaws in this New Economy system and then pointing the finger at one orchestra is not just. ALL the Big Five Orchestras do it – most at the level seen in this article.
It’s not uncommon to have a ratio of 75% tenured/25% subs these days especially in the summer months when players take vacations or are on a rotated leave.
It’s the New Model and it seems to be working since it occurs across the country. I can’t blame the managers if the tenured members of the orchestra go along with this evolving business model.
And as long as the repertoire increasingly tilts towards movie scores, video game background music, and woke blather rather than Mozart, Brahms, and Wagner, perhaps it doesn’t matter in the end.
I resent that the SPCO hires subs outside of the local instead of players in the local for subs.
Yes, in the Old Days, that would not have happened but now EVERY local in the AFM depends on the orchestra in town to provide the majority of the work dues.
The result is that the union local does not protect local jobs since they let the orchestra operate independently.
It’s better to have an orchestra full of subs, than an orchestra full of principals which should be subs (like a place I know).
The co-principal clarinetist of the Berlin Philharmonic, Mr. Ottensamer has not been seen in more than 2 years! No co-principal horn yet. All subs. Very fine ones I might add.
Ottensamer is an underwear model in Japan.
Probably pays better than any orchestra gig on the Planet.
Ottensamer is forging quite a decent budding career in conducting.
Youth and good looks can take you a long way in conducting, just ask Riccardo Muti.
As for his Japanese underwear modeling gig, I can bet without having seen any photos, that he’d be more modestly covered up in an Asian underwear ad campaign than Yuja Wang is in full concert dress.
Yuja Wang looks stunning. NOT that that has anything to do with her actual playing. She is still young & hopefully has many years ahead of her before growing into a musical icon!
Do your home work…..
https://www.berliner-philharmoniker.de/ueber-uns/orchester/musikerinnen/yun-zeng/
This is hardly unusual, particularly here in the UK – in a recent BBCSO Prom, fully 2/3 of the string players were extras, possibly more! I agree it isn’t ideal for cohesion but players do need a holiday.
So what’s the story? I an sure the subs are on the same professional level as the original Orchestra. Don’t compare an orchestra in Europe with the labor conditions in America. We have unions and little government subsidy.
And how! I would have thought a very supportive state is an un-alloyed blessing which more than compensates for more modest salaries. Most Europeans benefit from a wide range of various public sector services which are either free or heavily subsidised – very different from the USA! think unionised players are as common in Europe as in the USA?
Like the now LSO!
Did the LSO ever have full time players? I’ve always thought it was a freelancer’s orchestra. Couldn’t name a principal player despite every chair having two or three ‘regulars.’
LSO has one thing the great orchestras lack: consistency.
BSo is [probably] New England’s best orchestra— to quote my niece: LSO’s baby is BSo. Cute, isn’t she?
The LSO is owned by its Members. Same as having a position in the BSO, except the Members make the decisions on pay, programmes, artists by a designated Board of Player Directors. Democratically appointed.
The Management are theoretically employed by the Members.
So, self run orchestra owned by the players with a self employed status.
Easy!
Everyone has auditioned at least twice, even the extras/subs.
Democracy at work.
Orchestra’s of this caliber always heavily rely on their substitute players. The NY Phil for example plays over 150 shows per year which is a heavy load for any player. As a substitute member you are a member for the duration your contracted and held to the same standards as any other member. This is very normal and is great to see.
I cannot speak to Boston specifically, but it’s certainly not unusual to see lots of subs during summer concerts. In fact, when I’ve seen US orchestras at European summer festivals, even then there were lots of subs.
I assume the reason is that many musicians, especially principles, have summer gigs, like playing in chamber ensembles, festival orchestras, teaching, etc.
I cannot complain about them wanting to use the summer for other activities.
I saw the BSO several weeks ago at Tanglewood. Sure there were some subs and extras and at least one principal musician was out sick. It’s summertime, and musicians are human beings and taking vacations like everyone else, and they may have leave they have to use or lose. The Rite of Spring, played during inclement weather with a few subs (definitely not 25) and some extras, was the best live performance of that work that I ever heard!
What is the difference between a sub and an extra?
An extra is when you need more players than an orchestra normally employs, e.g. Rite of Spring requires five clarinets but most orchestras employ only four.
A sub is replacing someone who is on leave, or covering a vacancy.
3rd horn is out and is replaced by a sub.
Piece calls for eight horns and the roster only has five? Need three extras.
I think an extra is an additional player of an instrument not normally in the orchestra, like saxophone(s) in Pictures or Bolero, or additional players of an instrument of which normally there are few. Some Mahler and Stravinsky works call for 5 clarinets.
So a substitute would be a temporary replacement covering a missing player.
A sub is covering for a tenured musician. An extra is a player brought in for a piece i.e. Mahler 8 to play 5th clarinet, or the off-stage trumpets and trombones
A sub is for a regular position that may either be vacant or a tenured player is on vacation/leave, extras are for positions in pieces that call for more players than a regular roster could accommodate. Rite of spring for example requires 8 horns, like majority of major US orchestras BSO probably has 6 regular horns so let’s say 4 of your regulars are playing, you need two subs and two extras (possibly 3 if the principal requires an assistant to get through the program). Any instrument that isn’t part of the regular roster is also considered extra, Saxophon, guitar, organ, accordion etc.
A substitute is a replacement for a rostered orchestra player. An extra is a player hired in addition to the rostered players. For example: Rite of Spring calls for 5 of each woodwind. Most orchestras only roster 4 players per woodwind section, so an extra will be needed. If the 3rd oboe was sick and couldn’t play, then you would need both a substitute AND an extra.
A sub is a sandwich and an extra is a side dish.
@Curious in the US system I would define a sub as someone who is filling in for a regular musician in the orchestra who is taking a vacation or is sick. An extra I would define as a person hired because the orchestra doesn’t have enough people in this section to play the repertoire, such as Rite of Spring or a Bruckner or Mahler symphony with 8 horns.
A substitute (sub) is hired to replace a regular member of an orchestra who is on leave (sick, vacation, personal). An extra is hired to meet the requirements of an increased orchestration (Rite of Spring, Alpine Symphony, etc.)
Extras are playing parts that can’t be covered by the orchestra’s roster, e.g. expanded percussion sections, 8+ horns in Mahler, saxophones when needed.
Associate concertmaster Tamara Smirnova took an extended sabbatical for two seasons .and ,to my surprise, her position is vacant since this week…Strangely, there was no celebratory farewell onstage, as with Elizabeth Rowe, Edwin Barker, and V Elita Kang and Valeria Vilker Kuchment. Haldan Martinson and Elita Kang are on sabbatical leave for this season.
There were quite some subs at some concerts( the season is quite gruelling for those who play also in the Pops), but far fewer than 37. There are always more subs than usual in Tanglewood, and some TMC students get the opportunity to play with the BSO.
First Associate Concertmaster Tamara Smirnova is gone from the roster as of today. She was on leave for 3 years. Alexander Velinzon has apparently moved up/over to that chair, and the Associate Concertmaster chair which he held is currently unoccupied.
Assistant principal 2nd violin joined the Dover Quartet a year ago as violist, is still listed as On Leave.
And….what ever happened to Kyle Brightwell?
Hmmh….The Dover Quartet website still lists Julianne Lee as violist.
Kyle brightwell retired from the boston symphony
Well, Kyle Brightwell disappeared from the BSO, there was never any announcement that he retired.
The CSO has substitutes at almost every concert all year and at the Ravinia Festival this summer there were many substitutes as usual in the summer. This is not so unusual even for the Berlin Philharmonic in regular season. Watching their Digital Concert Hall one can only speculate on the real number of musicians they have. They seem to have about a dozen different horn player from concert to concert.
The Berlin Phil has 128 players on the roster (when all positions are filled). Principals alternate weeks (and occasionally an outsider plays a week). Strings rotate on some basis that I don’t fully understand but I would guess section players are there 50-70% of the time (and probably everyone goes on tour, so “home” weeks have more subs). Most subs in Berlin probably are Academy students, who are there basically in a graduate fellowship and many quickly go on to jobs in big orchestras – including in the Berlin Phil.
Management is allowing the orchestra members to take on other gigs. They won’t admit it but that’s what is happening. It’s unfair for the audience and financial supporters. I am positive that most of the orchestra members who do show up, are not happy also! But the subs are having the time of their lives!
The new concertmaster has been in his hometown putting on a marvelous series of chamber music concerts, as he has done for 20 years. I am sure it was in his contract. We are glad to have him home, and very proud of him.
Sir Thomas (having noticed a trumpeter he’d never seen before): “What … what’s that man’s name?”
Principal trumpet: “Ball, Sir”
Sir Thomas: “What … what was that?”
Principal trumpet: “Ball, Sir”
Sir Thomas: “What a very singular name.”
It’s summer.
A friend pointed out to me that the printed Tanglewood program is for 3 concerts, and although 37 subs were listed for those 3 concerts, all of them did not necessarily play in any one concert.
So there might have been 37 over the course of a weekend, but fewer than that in any given concert.
Most BSO players perform all year round except principals (who are not on the POPS roster but occasionally play the Boston Chamber Players concerts)—BSO, POPS, and Tanglewood. Many members also teach the next generation of musicians at conservatories, universities, or personally. I have some favorite players and miss them when I do not see them on the stage, but I am sure they return energized with fresh inspiration after their well-deserved time off.
This is a slightly misleading comparison. The Vienna State Opera has 149 members to draw upon for the VPO. The BSO has a very deep sub pool. In fact, the best-kept secret they have is that the “Esplanade” Pops is made up entirely of subs!
It’ll remain a quarter full of subs as long as all their auditions continue to end without hires
As an orchestra musician in Central Europe, actually this is quite common, especially in “festival times” (winter and summer. Easter/spring too even). Northern German orchestras are also made up of tons of rotating subs, more than the orchestras went to admit.
Heard Shostakovich 5 this summer, Cleveland Orchestra. Paid full price to watch a ton of students and subs, deer in the headlights. You never would have seen this twenty or thirty years ago. What a disappointment.
If orchestra members want to take the last week of Tanglewood off so they can extend their upcoming vacation before the season starts, they have that right. You have to have the full picture before you can start criticizing. Also may be having the full picture to begin with could reduce the criticism. but then this page loses its purpose, it seems.