How does a musician become a member of a symphony orchestra?

All musicians in the orchestra must pass an audition. Typically, when an opening occurs in an orchestra, it is advertised nationally and applicants submit their resumes for review. In some cases, an applicant must also submit a recording of specific orchestral excerpts before being invited to a live audition. For the audition, a musician prepares at least one solo work (usually a concerto) and several contrasting selections from the orchestral repertoire. Occasionally, sight-reading (playing music that was not on the audition repertoire list) is required. In order to guarantee anonymity and to prevent favoritism, the candidates play from behind a screen.

The music director, with assistance from an audition committee comprised of orchestra members, selects the player believed to be most qualified for the job. Auditions are very competitive; as many as three hundred applicants from around the world may send in their resumes for a single position in a major symphony orchestra. The Honolulu Symphony has hired musicians from Canada, China, Japan, France, Taiwan, Israel, Uruguay and other countries.

What kind of training is required to become a symphony musician?

What are the responsibilities of the musicians?

Simply put, the musicians learn their parts and play them as directed in rehearsals and concerts. In the process, their skills, training, musical sensitivity and experience all contribute to the final product. The principal players? parts are generally more demanding and exposed, requiring greater preparation than other parts. In the string section, the concertmaster has the additional responsibility of determining the bowings for he first violin section. "Up-bows" and "down-bows" affect the phrasing, style, and other aspects of the music, so the entire section must be coordinated. The other string principals follow suit, choosing bowing for their sections based on the first violin bowings. Occasionally, some discussion is required in rehearsal for bowings to be finally agreed upon by all sections.

What do the musicians do for a living?

What do the Musicians of the Honolulu Symphony earn?

What is the work schedule of the Honolulu Symphony Musicians?

The Musicians' working conditions are also mutually agreed upon and set down in contract. The work schedule is then dictated by Management in accordance with those conditions. Rehearsals range from two to three hours in length, usually occurring in the morning, evenings and on weekends. There are generally four rehearsals for each Masterworks program, two rehearsals for each Pops concert, and one or two rehearsals for special events and youth concerts. The maximum number of services per week is eight, and Monday is usually the day off.

Musicians are expected to learn their orchestra parts on their own time before rehearsals begin, and must practice many additional hours to maintain their skills. When this is taken into account, a musician's Symphony workweek can easily top 40 hours. Additionally, musicians often serve as volunteers on committees related to their orchestral work.

Do the musicians own their instruments?

Yes, they do. Every player is required to provide his or her own instruments and accessories (except for the piano, celesta, and some percussion instruments, which are owned by the Symphony). The total appraised value of all instruments owned by the musicians is $3.4 million, or an average of $41,000 per player.

A student instrument can be purchased for a few hundred dollars, but professional instruments may run into six figures. Finding an ideal instrument is a very personal matter and often takes years. Usually a musician will travel around the country at his or her own expense, visiting music shops, instrument makers, or factories, playing and comparing instruments and prices. Some Honolulu Symphony musicians' searches have taken them as far as Europe and South America.

Typically, stringed instruments are more expensive than other instruments, and for several reasons. The more they are played, the better they sound, because vibrations have a beneficial effect on these instruments. As a fine instrument ages, its antique value often increases. The scarcity of quality instruments contributes to their increased value. Some string players choose to purchase a second, less expensive instrument or bow to use for outdoor concerts and tours. String players' equipment includes bows (which can be surprisingly expensive and must be re-haired periodically), strings, rosin, and mutes.

Many woodwind and brass players are required to own two or more instruments (e.g., flute and piccolo), and certain wind instruments such as oboes and clarinets actually wear out over time. Woodwind players' accessories include mouthpieces, bamboo cane (from which reeds are made), and reed-making equipment. Their maintenance includes periodic replacement of pads and corks. Brass players' equipment includes mouthpieces (which occasionally need re-plating), valve oil, and mutes.

Percussion players typically own their instruments and equipment, including dozens of sticks, mallets, and beaters, even though they may perform on instruments provided by the Symphony. Drum heads wear out over time and must be replaced periodically.

What other work-related expenses do musicians have?

Symphony musicians spend an average of $3,800 a year each on employee expenses that are not reimbursed, which include the obvious necessities of instruments and concert attire, and also some less obvious ones:

What are the responsibilities of the conductor?

The conductor's job is to know how all the parts relate, keep the group together, and interpret the music. A conductor guides the musicians through the piece by giving them cues with hand gestures, body language and eye contact. In rehearsal, a conductor listens to the group as a whole and makes decisions regarding various aspects of the music such as dynamics (Is it loud or soft?), balance (Can the melody be heard?), tempo markings (What speed or quality of motion?), and intonation (Do the pitches match?).

A symphony orchestra's main conductor, the Music Director, makes most of the artistic decisions of the organization such as selecting the music, choosing soloists and guest conductors, and hiring new orchestra musicians. Additionally, the Music Director should act as the orchestra's ambassador in the community.

How does the HSO compare to other orchestras in the U.S.?

Orchestras with the largest budgets include the Boston Symphony ($58.4 million), the Chicago Symphony ($53.1 million), and the Los Angeles Philharmonic ($46 million). Orchestras which have budgets similar in size to that of the Honolulu Symphony ($6 million) include the Jacksonville Symphony, the Louisville Orchestra, the Charlotte Symphony, the Alabama Symphony, and the Syracuse Symphony.*

Larger budgets enable orchestras to offer a wider variety of programs, feature more of the most sought-after guest artists, service a wider audience through regional tours, promote their region through national and international tours, create a legacy of recording, and retain the best resident artists by offering year-round employment with competitive salaries.

*Source: Wage Scales and Working Conditions in the Symphony Orchestra, ICSOM Orchestras, 1999-2000 Season (New York, American Federation of Musicians, 2000).

What is a symphony orchestra?

An orchestra is a group of musicians playing diverse instruments together; these instruments are organized in families of strings, woodwinds, brass and percussion. The term 'symphony' refers to specific type of musical composition, in the same way that 'sonnet' refers to a type of poem. A symphony orchestra, therefore, is a group of musicians who play symphonic compositions together, and this is often shortened to 'symphony.'

What does the Honolulu Symphony do for Hawai'i?

When the Symphony puts on a concert, there is an economic 'sound-wave' felt by businesses through out the city. The flower shops, taxi drivers, baby sitters and restaurants all benefit, as do printers and designers, parking garage companies, dry cleaners, and so on. All of these businesses generate their own economic sound-waves in turn, reaching Realtors, shipping and construction companies, the tourism industry, and so forth. The end result is a 'symphony' of economic activity that makes Hawai'i economically stronger.

This sound-wave effect means that the Honolulu Symphony, with a budget of about $6 million, generates employment equivalent to 247 full-time jobs, paying a total of $6.15 million in wages. This results in $557,000 in state and local tax revenue.* Nationally, America's orchestras fuel the U.S. economy with $1.1 billion annually.** So, even before you attend a concert, the Symphony has probably already benefited you.

The Honolulu Symphony and its musicians also play a major role in arts education in Hawai'i. Individually, the musicians provide private lessons and group classes to approximately 800 young musicians. As a group, the Symphony performs for thousands of school-age children each year in concert halls and in Oahu's classrooms. As one of its many functions, the Honolulu Symphony Associate, which is a volunteer organization, raises money to award scholarships to the brightest young musicians for lessons and opportunities to perform with the Symphony.

Several current members of the Honolulu Symphony grew up in Hawai'i, heard the Symphony at a young age, and were taught by Symphony musicians. Who would be the role models for our young aspiring musicians if there were no Honolulu Symphony musicians to see and hear live on stage? Whether or not students choose music as a profession, the skills and values associated with learning music are lifelong assets.

Most importantly, the Honolulu Symphony is our 'music library'; it plays great music for you the way it was meant to be heard– live. In the course of a typical season, the Symphony gives nearly 150 performances, playing over 300 works of music including classical, modern, pop, jazz, rock, swing, country and Hawaiian compositions. The Symphony features at least 60 local and international guest artists a year. It performs with ballet companies and choruses, and premieres music of local composers and arrangers. It plays in concert halls, bandstands, ballrooms, churches, parks, community centers and schools, and at the Waikiki Shell.

* Source: Arts in the Local Economy of Honolulu, Hawai'i, National Assembly of Local Arts Agencies (City and County of Honolulu, 1994)

** Source: American Symphony Orchestra League, based on 1997-98 orchestra revenues.

Is classical music still relevant today?

Today one often talks about music as either 'classical' or 'popular.' A thorough explanation of classical music and how it fits into today's musical spectrum could fill a book, but a simple definition might be this: classical music is music that has withstood the test of time. This does not mean, however, that classical music is not popular. In fact, by this definition, classical music is the most popular music of all time. Classical music is still the cornerstone of the modern orchestral repertoire because of its timeless value to the listener. Some musical classics are easily and immediately accessible, while others demand more from the listener. Great music – of any style – is like great literature; it touches your heart and mind, and the more you learn about it and listen to it, the more you get out of it.

Is there an audience etiquette at Symphony concerts?

When you attend a live performance, simply enjoy your experience and allow others to enjoy theirs as well. There is no single way of behaving. The mood and purpose of the music are your clues as to how to respond. Audience reaction is not only acceptable but very much appreciated. It is all part of the live music experience. This would include applauding for a jazz solo at the Pops, joining in the sing-alongs at Christmas time, shouting "Hana hou!," "Encore!" or "Bravo!" after a symphonic performance, and keiki squealing with delight at an education concert.

At classical performances, it is considered customary to hold your applause until the conclusion of each piece, though if you feel particularly affected after a specific movement, feel free to let us know. Just do whatever comes naturally to you and remember that it was once the norm for applause to occur after a specific movement. In fact, it was not unheard of for the orchestra to repeat that movement before continuing with the rest of the piece, if the applause was especially enthusiastic.

During the performance, however, it is important to minimize any disturbing sounds or actions that may detract from the experience of others in the hall. This would include arriving late, excessive coughing, unwrapping candy, gum and cough drops, dropping your program, talking, or even whispering. (Psst: If you use the hearing device provided by Blaisdell Concert Hall, please remember to turn off your regular hearing aid.) Also, in this era of beeps, bells and rings, it is important to silence all cellular phones, pagers, and watches.

If you are concerned about a dress code, aloha-wear is most common, while others dress more formally. There is certainly nothing wrong if you feel more comfortable in shorts and a T-shirt. From a musician's point of view, nothing looks worse than an empty chair.