Innocents Abroad
“Globalization” is a hot-button issue for the 21st century. But the music business in general, and the orchestra business in particular, has always been transnational. Mozart traveled all over Europe in horribly uncomfortable traditions, Mahler was music director of the New York Philharmonic, and major European performers toured the backwoods of frontier American in the 19th century. Many of America’s great orchestras were started and largely staffed by immigrants, while the early records of several AFM local unions are in German (the Milwaukee local was started by a distant relative of JS Bach).
Since WW II, there has been traffic in the other direction as well. Musicians born, raised, and trained in the US play in professional orchestras on every continent but Antarctica. My own dreams about playing abroad took me as far as a job in the London Symphony Orchestra (that’s “London” as in “London, Ontario,” where panelist Brian Shillito and I were roommates). While I enjoyed it, it was not quite the same as being in Oslo or Sydney or Munich (my personal fantasy was Helsinki – but that was before I found out about winters). Polyphonic.org has enlisted the help of musicians who “took the plunge” to explore the experience of playing in a foreign orchestra.
To start off the discussion, I’ve asked the panelists to tell us how they ended up where they are now and why they made the choice to stay there (or, in one case, to leave).
No comments yet.
Add your comment