Double Bass About community orchestras

[Andy Mopley]

Hi all

Being part of a community orchestra (from an organizing perspective) relies on committees, volunteers and others to do a lot of the behind the scenes work.
To this end, keen to hear your experiences, specifically:
Are you part of the organizing committee?
Is there a role for an orchestra manager, someone that ensure players details are up to date, look for replacement and or new players?
Is this person paid a "nominal" fee to perform the tasks?
If you are the section lead, apart from the technicalities of marking up the music, what other functions are you expected to fulfil?

Appreciate the feedback!

 

[Paps]

I'm lucky in that due to distance and time, I can't ever become part of the committee.
In our Orchestra, the quickest route to the exit door is via the committee!
Yes, the committee has a very high casualty rate, but in fairness things have stabilized in recent years.
Ego's, rows and blame. Yes, I recognise someone has to do this job, but be sure it's for you.
Otherwise the music, playing and working in sections is quite straight forward.
IMHO a light hearted attitude, but putting in the practice is the best way to get the most out of these groups.

 

[Mark_T]

I am on the board of my local amateur orchestra. We have a paid executive director but also a number of other paid staff doing various aspects of operations, librarianship, etc.

 

[SAlcott]

I play in one community orchestra as principal bass. My only duties are to play as many of the notes as I can, and help the less experienced colleagues to do the same. The conductor (violinist) knows me well, and defers to me in matters of bowings, etc., that are bass-specific, in a real effort to understand how bass is different from the upper strings. I have no involvement in the running of the orchestra other than a small financial contribution and my time.

 

[Anne Millington]

As section leader, you would take the bowings from the concertmaster as translated by the cello section leader, and make sure they are bass-appropriate. You might suggest a fingering or string choice here and there, but fingering the whole part is a little over the top, IMO.
Other important tasks might be determining seating, making sure everyone has good copies of the music, and that bowing or road-map changes get communicated to the whole section.
Organizing and leading sectionals is a really important duty, and can definitely help your section be successful.

 

[Andy Mopley]

Thanks all. Section lead duties are somewhat easy to identify, but I still appreciate the responses.
Other duties fall in a bit of a grey area - for example is the orchestra manager also responsible for finding replacement players (in conjunction with section lead?) and chasing players that miss rehearsals? Is the treasurer responsible for chasing player's payments? I am trying to get a view from someone who is somewhat well versed in the area of community orchestra management - if possible!

 

[Anne Millington]

Community orchestras I have been in had some management structures that kept the lights on, including a players' committee that determined policies such as recruitment, auditions, attendance, etc. These policies were developed via discussion with the board and the conductor/music director. Also, a personnel manager, usually paid a stipend, could deal with these issues. There are a ton of other roles, some volunteer, some paid, like librarian, equipment manager, publicity, program development, etc etc. Of course the most fundamental is developing mechanisms for funding, which is essentially what the board is there for.

 

[SAlcott]

As section leader, you would take the bowings from the concertmaster as translated by the cello section leader, and make sure they are bass-appropriate.

That's really important. Most upper string players are utterly clueless about bowing choices for bass; the fancy stuff that works for them is often impractical for us.

 

[Mark_T]

Thanks all. Section lead duties are somewhat easy to identify, but I still appreciate the responses.
Other duties fall in a bit of a grey area - for example is the orchestra manager also responsible for finding replacement players (in conjunction with section lead?) and chasing players that miss rehearsals? Is the treasurer responsible for chasing player's payments? I am trying to get a view from someone who is somewhat well versed in the area of community orchestra management - if possible!

In our orchestra, players who miss rehearsals are required to inform the principal and the music director. Principal players should also work with the manager to find a sub, if they have important parts (ie, a flute can be really critical to have even in rehearsal). Our orchestra currently pays named positions (most winds & brass, string principals).

Our professional staff generally consists of:
Executive Director (full time)
Operations Manager (close to full time)
Marketing Director (20 hrs/wk?)
Bookkeeper (10 hrs / wk)
Outreach/youth programs (5 hrs/wk, seasonal)
We generally also have a variety of interns and assistants that put in a few hours per week.

We have a volunteer board of about 12 folks that meet monthly (of which I am a member; I'm also the principal double bassist). A few of our board members are in the orchestra. Our ED is also a woodwind principal.

I'm happy to talk to you about how our orchestra works if you like. You can DM me.

 

[Andy Mopley]

Thanks Mark. Exactly what I was looking for. Will DOM you in the coming days. Thanks again.

 

[Anne Millington]

By the way, most community orchestras file for non-profit status at some point, and would have articles of incorporation and bylaws that may define some of those roles. They may specify which roles would be on the Board, as well. And they can be modified if it turns out they are out of date.

 

[Paps]

We pay the conductor quite an attractive rate for each rehearsal and then a higher rate for the concert day.
The conductors are generally professional musicians, playing in professional orchestra's and have a great knowledge of music and repertoire and many have may contacts in the musical world for extra player or soloists.
The committee has a large say in the program and will sometimes over rule the conductor.
We also pay for a few choice professional musicians that may be required to boost certain sections.
One rule, and I strongly agree with it, is that members must have attended at least 1/2 of the rehearsals to be eligible to play at the concert. Depending on the committee and members, sometimes a role is taken.
This rule is both respectful to the music and to the other players in maintaining an acceptable attitude and standard. People who cant commit to this do not deserve to play in a concert, no matter what their ability.
They can certainly play at rehearsals, but not the concert.