Discussion Panel

Since most librarians pride themselves on not being seen on stage (because that means all their work was correct), it always comes as a shock to hear the words “librarian to the stage, please.” I like to think I would be first to apologize for something that I did not do correctly; however, it has[…]

The librarian is a key link in any orchestra’s ability to function, so what happens when there is a glitch? During my time at the NSO I’ve had many occasions to observe what happens when a conductor stops a rehearsal and suddenly asks for the librarian to come to the stage, and I’ve seen how[…]

I am in my 6th season as Artistic Administrator for the National Symphony Orchestra, following four years with the Chicago Symphony, and I have been blessed to work with really great music librarians. Currently I work with NSO head librarian Marcia Farabee, an amazing colleague and friend. I cannot imagine doing my job without a[…]

Editor’s note: I asked Karen this question: You said there is no “college for music librarians”…what would you recommend to a young person starting out with an interest in becoming a librarian?” Karen: If someone wants to become an orchestra librarian, they need to take as many advanced music courses as possible: theory, history, orchestration,[…]

Today we have Erin Ozment, artistic administrator of the National Symphony Orchestra, joining us. Her position requires her to work closely with the NSO’s librarian (Marcia Farabee) and she outlines the process they go through to finalize programming decisions. Karen Schnackenberg has written a thoughtful piece about the training needed to become an orchestra librarian.

Editor’s note: Since Jessica is fairly new in her position I asked her what she likes most, and least, about her job. Her answers follow: I love being at rehearsal, especially when I see that the players are able to make music, not fight with problem xyz in the part. I enjoy a good problem-solving[…]

While each orchestra has their own preference for the size and layout of the final product, overall there are definitely certain guidelines for proper preparation of scores and parts, and a very valuable pamphlet can be downloaded from the MOLA website, Major Orchestra Librarians’ Association. It is called “MOLA Guidelines for Music Preparation” and can[…]

Here is a snapshot about OPAS. OPAS is a software program designed specifically to manage the various facets of orchestra administration. It contains modules for the calendar/schedule, repertoire, artistic planning, personnel, and operations departments. Within each module there are many fields (ex: the library component has fields for composers, titles, performance history, instrumentation, library holdings,[…]

I hope you all have time to read Marcia’s comments about OPAS. I threw out a question for Margo yesterday that she replied to in such detail that I wanted to feature it today. (Note that Jennifer Higdon, a well-known American composer, has also commented on the same question in the “comments” section.) Let me[…]

Many orchestra librarians have stories of their unusual or unexpected journeys to this career, and I suspect librarians come to their positions through outright determination, complete accidents, and everything in between. I would classify how I have arrived here at the Omaha Symphony, (where I am) beginning my third season as music librarian, as a[…]