It’s Time We Retire the Label, “Semi-Professional”

semi-professional*:

adjective

  • Receiving payment for an activity but not relying entirely on it for a living.

‘a semi-professional musician’

noun

  • A person who is engaged in an activity on a semi-professional basis.

‘My parents were lay musicians, but Dad was more of a semi-professional.’

 

*Note, the above definitions, from the Oxford Dictionary, do not mention anything regarding quality, worthiness, or merit of said activities

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I make my living from a combination of university teaching, conducting part-time ensembles, and occasionally performing on viola. As a conductor of several types of ensembles, and a teaching and performing musician as well, I consider all of my activity to be “professional-based.” Yet the music industry often does not always agree, as it assigns arbitrary value based on perceived prestige of any activity. What is often deemed important is often no more than a matter of who you know, where you studied, and being in the right place at the right time. There is also the plain fact that once you get a break and do something with it, then you are on your way. (That last one is a good thing if you can maintain it).

Not so fast, you say. This sounds a bit like sour grapes. I assure you it is not. I am quite comfortable in my life and consider myself as maintaining and continuing to build a successful career. But time and again, I hear things, read reviews and see evidence that the industry often discriminates, not on artistic grounds, but on other dubious criteria. The topic du jour, then, is artistic merit based on factors that the artist has little control over; namely what is and is not considered to be a “top-tier” experience; as case-in-point, a simple word-designation: the dreaded “semi-professional label.”

In my opinion, it is high time the musical-world eliminate the practice of labeling an activity as “semi-professional.” This is particularly true as it’s assigned, whether deliberately of by inference, as a signifier of worthiness or quality. Simply put, “semi-professional” is not considered to be as worthy as “fully-professional.”

But I’ll counter that if one is paid, it is professional activity. Period. If one continues to receive pay engaged in such activity, whether from one organization or by cobbling together various opportunities, it is still professional work, and is part of one’s “professional profile.” Whether intended or not, no penalty should be assigned due to location, budget size, number of concerts/recordings of a group or individual, or perceived prestige of an organization. Work in the field is work. Work builds into more work, and if it is good, it will be sustainable. I am only one example among thousands that this is true in the arts.

Here are some interesting facts:

  • Most paid orchestras in the U.S. are classified as semi-professional, by a huge margin. There are only 18 or so that are considered “full-time.” There are hundreds more ensembles that pay their musicians, a little or a lot, to play
  • The “part-time” organizations often employ a full-time music director and part-time ensemble players. That is a budgetary reality, and a proven organizational leadership model. It says nothing, however, as to the quality of the artistic leadership, musical product, and certainly not to the worthiness of the endeavor.
  • There are many, many more opportunities at those “part-time” levels for music-making. Do the math.
  • The music industry does not generally value these second or third tier endeavors, instead assigning only the top-tier experience as artistically valid. Doing so actually limits opportunities and creates ever-contracting circles of work.
  • All “tiers” are arbitrary. The industry considers them, but as individuals we may also place ourselves in boxes of our own design. The key is in seeing both realities.
  • The so-called “top tier” of the music biz is certainly populated with talent; but also is bloated with too many fish and way too many cooks—Alpha-types bent on controlling who gets opportunities. This is most often couched as an artistic decision, but is more often based on favors, the who-you-know buddy system, and, occasionally, box office concerns. It’s not always intentional, but blinders are worn by many in the profession. Institutional blinders and individual blinders both exist.
  • Despite the industry preferences, an appearance with a top-tier organization does not guarantee quality.
  • More importantly, a lack of top tier work does not indicate lesser quality in other musical ventures.

Some of the finest musicians I know cobble together a career consisting of various opportunities: performing in several orchestras, multiple teaching positions, freelance work, composing, writing reviews and articles, etc. I know musicians in practically every state in the U.S. and also in countries in both Europe and Asia. Most of them are engaged in professional work, regardless of their employment status with any particular organization. All of them are committed, engaged musicians. They work in the field. All work is professional work.

I’ll likely not change the English language, nor the opinion and practices of the music industry. But I will contend that all musical activity is professional, especially when the musician is paid. Anything less would be semi-genuine.

 

Copyright, July 5, 2018. Robert Baldwin, Before the Downbeat.

Definition source:

https://en.oxforddictionaries.com/definition/semi-professional

 

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Sinfonia Salt Lake to perform 4 world premieres at the Utah Arts Festival

Presented by Sinfonia Salt Lake at Salt Lake City Public Library (Main Branch), Salt Lake City UT

Sinfonia Salt Lake at the Utah Arts Festival

The Sinfonia Salt Lake Sextet, David Price, violin, Cassie Olson, cello, Christina Castellanos, flute, Henry Caceres, clarinet, Jed Moss, piano and Henry Caceres, clarinet will perform 4 world premieres at the Utah Arts Festival, including the prize winning commission by Saad Haddad. Music director, Robert Baldwin will conduct.

The concert will feature the world premiere performance of the 2018 Utah Arts Festival Chamber Commission, Azwaj by Saad Haddad. Other music on the program is by composers, Stephen Jones, Ethan Wickman, and Chad Cannon. This FREE performance at the Arts Festival does not require Arts Festival admission. Enter through the Salt Lake City Library to access the auditorium.

Here’s a great review article on the composer and piece that won this year’s commission:

https://www.theutahreview.com/backstage-utah-arts-festival-2018-saad-haddad-youngest-recipient-ever-utah-arts-festivals-composer-commission-award-forthcoming-premiere-azwaj/

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Sinfonia Salt Lake Sextet from L to R: Jed Moss, Jeremy Megginson, Christina Castellanos, Henry Caceres, Cassie Olson, David Price, Robert Baldwin.

Thoughts on Mozart’s Coda

To me, the opportunity to perform a masterwork is similar to being allowed to touch a sculpture by a great artist like Michelangelo or Rodin. To feel every texture and contour, tracing your fingers where the master artist made his/her creation; each texture, rise and fall an imprint on eternity. What’s more, if you look deeply enough, there is artistic DNA embedded there. And like a scientist, secrets will be revealed to the performing musician who studies and prepares with patience, focus and openness. Then those secrets soon begin to work their inner magic on the initiate.

MozartsCoda_digital poster

A musical score that weaves through the personal landscape while still clothed in tradition, Mozart’s Requiem is one of those works that is as satisfying both to the audience as well as to the performers–intellectually, emotionally and spiritually. We will preface the massive K.626 with one of Mozart’s other final and fantastically personal choral works, also written in the last months of his life, the ever-so-poignant Ave verum corpus, K. 618. Tender and introspective, it provides a perfect scene-setter to the Requiem.

Yes, I’m excited about this weekend’s performance. I cannot assure that you will be transported to a different plane of existence, but why take the chance that you may miss out? It’s something special! I hope you can join us.

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Mozart’s Coda
Saturday May 19, 2018 7:30 pm

Libby Gardner Concert Hall, Salt Lake City
Julie Wright Costa, soprano, Kirstin Chavez, mezzo-soprano, Robert Breault, tenor, Seth Keeton, bass
Utah Voices, chorus

Mozart Ave verum corpus
Mozart Requiem

Mozart’s Requiem has long been hailed as one of the great masterpieces of western art. To listen to this music is to be transported to a different time and space. Come hear the Salt Lake Symphony, Utah Voices and U of U Faculty Voice Quartet perform this masterpiece, as we bring our season to a close with style and gravitas. It’s a fitting end to a grand season of music.

Tickets: $15.
Available from utahvoices.org, or at the door with cash, check or credit card.

Free Parking for Libby Gardner Hall: 100 South and Wolcott (1450 East)

 

Surrounded By Greatness

 

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Something I’ve noticed a lot over the years: The great performers, in any genre, who create new and exciting things, last across generations and put a stamp on the field do so by doing one thing—collaborating with other artists who are at least their equal or even sometimes better than themselves. From Arturo Toscanini to Frank Zappa, these musicians surrounded themselves with other great musicians, which allowed for them to realize an artistic vision. Toscanini wanted the best orchestra possible, so the NBC Symphony was an assemblage of some of the finest classical musicians of the era. This enabled him to further explore his own creative pursuits and provide performances at an unparalleled level. Frank Zappa did the same thing, as does Sting, Paul Simon, Yo-Yo Ma, Wynton Marsalis, and so many others.

It doesn’t matter what the personality traits of the artist in question. They can be autocrats, like Toscanini and Zappa, or great humanists like Marsalis and Ma. It is the assemblage that matters–the act of collaboration. And collaborations can be long or brief; maybe it is just for one performance or album, perhaps it is for years or an entire career.

We tend to think of these artists as super egos (even the nice ones). Certainly a certain amount of ego is necessary to perform. But, among those in the “truly great category,” few to none are threatened by other musicians, even those that may surpass their depth, skill or knowledge. Rather, they grow and thrive because they surround themselves with great talents. Yo-Yo Ma is the prime example of this.

Not that this is without its problems. The Fab 4 and the Guarneri Quartet both had well documented issues of getting along with each other, and yes, Toscanini’s tantrums are the stuff of legends. But there is something to be said for their successes as well. But besides the personality issues, there is something about the group dynamic that makes it worthwhile. The sum of the parts is greater than the whole.

What does this mean for a college educator, community conductor or chamber musician? EVERYTHING. While we may not have the resources of a great maestro or rock star to add already developed artists to our ensembles, we still strive to engage with the best musicians possible. We hold auditions to add new members to established groups to enhance the quality of the ensemble; we engage in new collaborations to open new pathways, and we develop student musicians into the artists to reach higher levels of achievement. And part of that equation is the charge to continually develop our students into better musicians. From our engagement, new performers and teachers will enter the profession, new ensembles will emerge, new art will be created.

And that, is why I love my job.

Copyright 2017, Robert Baldwin, Before the Downbeat

“What I have here accomplished, I will never achieve again.” ~ Camille Saint-Saëns

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Once upon a time, I had a conversation with a respected, “high-seated” professional musician who expressed dismay that I was considering programming Camille Saint-Saëns “Organ Symphony.” He said is was a shame that I would consider programming “inferior music.” That comment floored me. I was young-ish, for a conductor anyway, and quite impressionable. It gave me pause and made me think that maybe I didn’t know what “good” music was, maybe he somehow knew better than I—so I cut it from the season program. The organ and the orchestra remained silent for that piece because I doubted my training, and more importantly, my instincts.

When this same person, years later, criticized my choice of Brahms Symphony 3 on the same grounds, I finally figured it out that his bias was pretty skewed—caddy wampus, even—or maybe he just hated anything titled, “Symphony No. 3.” Luckily, by then I had the experience to know better. Brahms was on and remained on. I’ve conducted several satisfying and successful performances of that work since.

This spurred me to revisit the Saint-Saens score about a year ago, a work I have played several times and have always enjoyed. It is a fine work. I like it. It’s OK to LIKE a piece of music. On the surface, it is a wholly attractive work, and while perhaps not deeply profound, certainly worthy of performance. The orchestra will love playing it and the audience will hopefully leave the hall happy. And that too, is fine. It may not change the world, but then again, it just might help. We find satisfaction in many different ways and through many different guises.

Of course, I’ve learned a lot over the years and by now know to trust my instincts (and take criticism with a grain of salt). But we must remember that WHAT we say to each other and HOW we say it can make a difference. You never know what may be squelched from a holier-than-thou attitude or a flippant remark. I, for one, am happy that I finally figured it out (at least this time).

So the stage and organ will only be silent for only a few weeks longer. I cannot wait to dig in to this work with the SL Symphony! It’s going to be a great way to open the season. Hope to see you there!

Salt Lake Symphony Season Opener
Saturday September 30, 2017 7:30 pm

Libby Gardner Concert Hall
Rachel Call, violin, Linda Margetts, organ

Walton Portsmouth Point Overture
Sibelius Violin Concerto, op. 47 in D minor
Saint-Saens Symphony #3 “Organ Symphony”

Copyright, 2017. Robert Baldwin, Before the Downbeat

The Problem of Pigeon-Holes

Could it be that the accepted practice of categorizing musicians into subsets is affecting our ability to make new art and advance what we do?

Pigeons

Today’s 6-hour drive back from adjudicating an orchestra festival allowed me to kick around the above idea—something I’ve been thinking about a lot lately. The basic issue at hand is the continuing trend of how we reduce everyone into categories, and progressively smaller and smaller subsets, eventually limiting all of our potential. For example, the musician today might be thus categorized reductively:

musician to instrumentalist,

then to violinist,

on down to orchestral violinist,

to specific section violinist (1st or 2nd),

to a section player in a specific orchestra,

 which belongs in a specific category,

with a specific budget,

in a specific region,

of a specific city/country

likely sitting in a specific

chair.

Similarly, composers only compose (and usually only certain types of music); conductors only conduct, and get typecast even more strictly into career straight jackets, etcetera etcetera, etcetera…..And God forbid the musician who goes into administration. That choice is seen as some sort of betrayal of the muse: “The Artist Formerly Known as Worthy.”

I contend that this is a 20th-21st century phenomenon, unlike the accepted understanding of an educated professional artist (or professional in any field) from past eras. For example, Franz Joseph Haydn was a musician, perhaps now only remembered as a great composer, but in his time also hailed as an excellent singer, performer of several instruments, and a most able composer of a variety of types of music (everything from religious music to operas, concert works, and “background music” for royal patio parties). He was also a pretty effective music director, music administrator, music teacher, and all-around-great-guy. His story is not an anomaly. Wagner was also admired for his writing, stage direction, and unfortunately, some of his philosophies. Liszt could play a mean piano, and later in life, pray a mean Catholic Mass. Bach, well, I’ll let you read the tomes about everything he could do, including handling a sword as well as a manuscript pen. The list is endless.

I’m not referring to hobbies or interests here. It was considered part of the complete package to be involved and competent in a variety of things. While Benjamin Franklin and Thomas Jefferson may be America’s great examples of Renaissance Men, it really was considered the model for anyone of a certain education. Sadly, today it is relegated to the quaint last sentence found in professional bios about how: “in his spare time he enjoys reading, writing, hiking and spending time with his family.” (Source: the actual last sentence of my current professional bio).

My point is this. When the 20th century came along, we were required to specialize. There are exceptions (Leonard Bernstein among the most obvious), but think about 20th century musicians and what they are known for. Shostakovich played piano (WELL) but was forced by the system to be first, a composer. True, he was used, but also the expectation changed. Wilhelm Furtwängler, who was also a fine composer, was mainly promoted as and encouraged to encapsulate the image of the “Modern Maestro.” Had he been allowed to fill the old role of Kappelmeister or Impresario, we might still enjoy hearing his music. Indeed, his entire career would have been different.

DBPB_1955_128_Wilhelm_Furtwängler

Starting from about 1920 or so, musicians were expected to specialize in a certain instrument and even narrow it further into genre. “Oh, you play viola? Are you an orchestral player (principal or section, please state who, where and how many famous people you’ve studied with); or are you a chamber musician, soloist, or ahem, a TEACHER? Such a shame you had to “settle” for teaching music.” Double-God-forbid if you ventured into alternative styles like jazz or fiddle music! Special curiosity points are given for musicians who are also pretty damn fine composers. Tibor Serly, Alan Shulman, and Emmanuel Vardi being three from the ranks of my particular instrumental specialization: the viola.

Please understand, I’m not complaining about anything. I’ve no personal gripe, in any way. It is what it is. That was the expectation—the way the profession developed. It was the same for scientists who developed things so specific for NASA that they barely saw the end product, perhaps spending an entire career developing a rocket booster O-Ring that could not fail. Well, ok—maybe that’s a bad example.

But the arts are not as specific, nor should be as complicated, as rocket science. We are now on the other side of that century of specialization, faced with a choice. We’ve been teaching music to the test: The Major Professional Audition. But for certain, not everyone can, nor should, play with the Chicago Symphony. Not everyone will play in a major string quartet or play a concerto with an orchestra, either. But musicians must have the liberty to have different choices on the horizon. I look forward to the day when musicians might have the freedom to market themselves as “musicians” again, and are not forced to sub-categorize themselves into packages that fit into the mail slot. Let’s allow some latitude to build our own slots.

So I’ll start.

Hi, I’m Rob. I’m a professional musician with training in viola and conducting, recently branching into viola d’amore, and writing about music. I make my living as a conductor and music professor today. But remember, first and foremost I’m a musician who loves to perform and discuss music—any music. Highlights of my career include such disparate events as playing with the Moody Blues as well as concerts with Native American, Iranian, American-folk, tango, jazz, opera and a myriad of other artists. I’ve worked with all ages of musicians, and at all levels of achievement. I’ve also had a great time conducting and performing in thousands of concerts since I began playing viola at age 9 in Mrs. Brown’s 4th Grade Orchestra Class at Madison Elementary. Like Mrs. Brown, I’ve had some success teaching music, too, and am very proud of my students’ accomplishments, no matter what field they may ultimately choose to pursue. I’ve served in a variety of administrative roles in the arts as well, although admittedly that is not my favorite activity in the field. I simply cannot wait for my next musical adventure. I love music.

Oh, I also write poetry, and enjoy hiking, reading, and spending time with my family.

Copyright, 2017 Robert Baldwin. Before the Downbeat