Life in the Pit

I was asked to render my thoughts on what makes playing in a pit orchestra different from playing in a symphony orchestra. In fact, the difference is less than one might think. What immediately comes to my mind is the lack of space in most orchestra pits, compared to most concert stages. The pit is usually a cramped place, and the seating layout is usually less than optimal. The various sections of the orchestra are often unable to sit in the normal configuration, making it more difficult the hear balances properly. Where I work, at the New York State Theater at Lincoln Center, our orchestra of 63 musicians is splayed out horizontally in a pit that cries out for more depth vertically; our pit is very wide, but very shallow. As a result, hearing what is going on from left to right is a real obstacle that hinders the overall performance level.

The atmosphere during performances in the pit is more “homey” and less formal than on a stage – a little more laid back. This, I think, has not to do with taking matters any less seriously, nor does it lessen the artistic level. It is simply because the orchestra is less visible when in the pit. We can talk quietly in the pit; we do not talk on stage. Some players discreetly read books and magazines or do crosswords during their tacet sections. Some even send text messages during performances, without anybody out there knowing. Wind players place elaborate sound shields of dense, opaque materials, which would never be allowed on a concert stage, between them and the brass.

Unlike the performance schedule of a typical symphony orchestra, which usually rehearses and performs one program per week, pit orchestras usually have to prepare and perform much more varied repertoire. Our company, the New York City Ballet, performs several different programs of mixed works in any given week. That could mean as many as thirteen or fourteen different pieces of music to be rehearsed and performed in a week. If this leads you to conclude that we do not always have the opportunity to rehearse each piece to the point where it ought to be, you are not at all wrong. But even more striking is that we spend at least half of our very limited rehearsal time in the capacity of “accompanist” to the dancers, while they rehearse. To all this add the fact that the Company has a seven performance work week, considerably more than a typical orchestra.

How does one get started into specializing in pit work? By chance. Few people are truly “born” to be pit players. A few do aspire to it, but most, I would say, have playing in orchestra pits thrust upon them. Certainly, none regret it.