In the early days of classical music, audiences were a little more rowdy—a lot more clapping, talking, etc. More like being at a rock concert, except before rock music even existed. Then in the early 20th Century this began to change, and the new normal was to wait until the very end of a piece of music to clap, never between movements.
The problem is that not everyone knows about this unwritten rule, and so there is usually someone who finds themselves feeling awkward after the first movement of a work because no one else is clapping.
Here is an example programme with notes on when most people are going to applaud:. First Movement short pause, no applause 2. Second Movement short pause, no applause 3. X by Yet Another Composer 1. Third Movement short pause, no applause 4. Fourth Movement applause. That said, if you feel moved to applaud before one of these "allowed" times, feel free to do so. Nobody on the stage is going to glare at you or try to make you feel bad.
They're probably going to be quite pleased to hear that you are enjoying the performance. Hate is a strong word. What we don't like are phones ringing, chirping, buzzing, or making any other noises during the performance, or when your phone is lighting up like a strobe light—just like people do not enjoy that at a movie theatre. We do like it when people have fun and share their experiences with others, so go ahead and check in on Facebook, Tweet about being at the concert, take a selfie and post it on Instagram if that's your thing, just please make sure your phone is silent when the music is happening out of consideration for the performers and your fellow audience members.
Also, please tag us when you post online! You are welcome to take pictures in the auditorium before the concert begins, at intermission, and after the concert has ended. If you get a good picture at the concert and want to post it, don't forget to tag us in it too. We'd love to see it! Concert lengths can vary somewhat, depending on what is being performed and how long each piece is, but are generally in the 2 hour range, including intermission.
A Masterworks concert usually begins with an overture or other shorter work around 10 minutes long, followed by a concerto with the guest soloist which is usually around minutes long, then a 20 minute intermission. The second half of the concert is usually a full symphony with multiple movements, which can last from minutes depending on how much the composer wrote and how excited the conductor is.
A Pops concert will have a different format depending on what is on the program, but will also be generally about 2 hours long, including intermission. Generally in the centre and back a little from the front is a good place to sit, as that helps to let the sound blend together a little more before it gets to your ears. Plus, you can see the musicians better when you aren't right in the front row, and it can be a lot of fun to watch them as they play.
If there is a piano soloist performing, some people prefer to sit more to the left to get a better view of the pianist's hands as they perform. Can the orchestra take requests on the day? What equipment do I need to provide the orchestra? What about parking and space for the orchestra at the venue? Do I need to provide a PA system? Do I need to provide food for the orchestra? Can an orchestra play outside?
What dress code can I expect? How long will the orchestra play for? Booking How far in advance should I hire an orchestra? How do I handle contracts and payment? The Basics How big is an orchestra? Music arrangement fees if you would like a piece specially arranged for orchestra Transport costs In some cases, tech requirements e. Orpheus Sinfonia is regularly booked for a range of events across Europe. Need to hire an orchestra? Get instant quotes from our selection of the UK's top orchestras.
Rated Excellent See our reviews on Trustpilot. Cellist, pianist, singer and aspiring guitarist. View all posts. You may also like. Hiring Musicians Musician Stories. Kunmi Fasanya. Soloists, however, have a lot more room to interpret the music as they want. All of this is not to say that being a soloist is any easier than playing in an orchestra. Soloists have a unique skill set and face different challenges.
They are required to perform their best with very few rehearsals — maybe 1 or 2 or at most. They are expected to play from memory but, at the same time, play with a passion that keeps the audience engaged.
The bottom line is that orchestra members and soloists use sheet music differently due to their unique circumstances and requirements. These players are worth this kind of money to their employer. End of argument. This entire discussion is irrelevant. The bottom line is that if the powers that be have agreed to pay them well for the hours they work, end of story. I would never waste my time justifying my salary to anyone!
We should all be so fortunate. There are members, principals, etc. The flaw in this argument is that amount of work is used to justify compensation. No matter how hard any musician works, they have to be good enough to play in The Chicago Symphony.
Hard work helps, but it is the end product with some luck that justifies compensation. The same applies to any pro field as well as study period; a teacher will not grant an A to a student who does poorly on an exam because of hours spent studying.
So, no discussion necessary: the players are paid what they are paid, for the quality of their work, whatever the nomber of hours. However, there is an implicit expectation that a musician must do work that goes well beyond rehearsal time. How many careers require an employee to, say, supply his own tools? The aggregate value of their tools can be in the tens of thousands of dollars. However, how many jobs require the salaried, per diem, or per hour employee to supply tools that often cost in the hundreds of thousands, or even millions, of dollars, with no recompense?
How many careers require an employee to engage in extensive and intensive daily work outside of the job to maintain his or her skills for the job?
Other careers? Do even brain surgeons work four or five hours per day, every day, outside of the operating room, practicing on cadavers? I do not think so. A bit off topic, but how many people expect professionals to donate their services for free? How many, say, accountants are expected to do accountancy work for a firm pro bono?
Maybe a charity, but not a business. Churches hire accountants; why do some expect musicians to play for free? Musicians are professionals.
Musicians in an orchestra such as the Chicago Symphony are among the finest musicians out there. They are paid high salaries because of their training, their hard work, and — most important of all — their ability to deliver the goods. That pay accomplishes several goals, including freeing up the musician from the need to work at other jobs, especially ones that are not music-related, so that they can maintain their high standards of performance without worrying about putting a roof over the heads of themselves and their family members, and food on the table, etc.
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