![]() ![]() ![]() It's also less often the case that people are seated according to "ability level" in a professional orchestra section, mostly because of the way auditions fill certain chairs when a tenured musician leaves. One perfectly placed "ding" on the triangle is every bit as important as the violins nailing down that entire first page of Don Juan. In the best orchestras, in the best performances, we are all one. But in the best orchestras, everyone takes personal responsibility and pride in doing their best, in the role they are playing. Is it different in professional orchestras? Certainly the residue of that toxic upbringing can rear its ugly head on occasion in professional orchestras. By now, I absolutely love playing second violin, and I still look for ways to be better at it. I grew very interested in all those things involved in being a strong second violinist: knowing my part well, being reliable for counting, knowing and adjusting to the changing roles as a support section then a soli section, attending to every marking on the page, and then just tuning in to everyone around me. That's because in my first job, in the Omaha Symphony, I identified a number of second violinists around me who clearly took pride and professionalism in their approach to playing second violin. I realized very quickly that there is an art to being a "good, strong second violinist," and my attitude really changed. Why on earth was I so ashamed? It's actually not surprising, considering how steeped I was in this environment that held "ranking" in such high regard.Īs an adult, I've played in many professional orchestras, and mostly in the second violin section. And the second violin part for Firebird - plenty of challenge right there. Every person invited to be in that orchestra was an excellent player, first chair to last. But what about that attitude? It was completely ridiculous! What an honor, to be among all those talented young people, playing great works of music. What could be more humiliating? It wasn't even that I didn't want to play the second violin part, it was the humiliation of it all! Yet - I'd have to tell everyone I was in the second violins. On the plus side, we were playing Stravinsky's "Firebird" (I'd never played this piece at the time, and I adored it) and I'd have a weekend away with all my friends. What? I was so embarrassed that I almost didn't want to go. And then, during my senior year of high school, when I should have been "best," I got placed in the second violin section for All-State Orchestra. I had the opportunity to be concertmaster of my school orchestra, and several youth orchestras, and I played in both sections in my city's more advanced youth orchestra. ![]() Growing up, I saw this from a lot of angles. She had read a few forums and had begun to think about the idea that every instrument is equally important, and that the second violins actually have an important role in the orchestra. "Is this the way it works in a professional orchestra?" she asked me in her e-mail. ![]()
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