Quote:
Originally Posted by Scott Pope
Ken, I apologize if I offended you. I never picked up from all your posts that you are, indeed, a principal in a couple of different ensembles.
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Not a problem but my question was really on the definition of a regional orchestra. Most community-turned regional paid orchestras are still community orchestras but on a pay scale. Professional orchestras can be a, b, or c classed and if they have a small season and are mainly local, they too can be classed by some as a regional orchestra rather then a national or international one that travels. So, I was not insulted in the least. I just wanted to know how you class that work and how you would class my orchestra!
Found this as well.
http://ropaweb.org/about/guiding_principles/
Usually it is all Union but the orchestras around here are mixed with union professionals, retired or non-union pro or semi-pro and converted kept-on community players that are non-union as well. It's a mixed bag I think.
In the 20 years I played in NYC I did actually do a tiny bit or Orchestra work there as well. Not in the Majors but one Community orch. would hire Pros to fill in and were paid as Union Trust Fund concerts. I was an AFM/local 802 member from 1968 (joined when I was 16) till 1988 when I first retired from playing. One time after meeting the Principal of the Radio City Orchestra, I got called to sub for him. Just 2 basses there and the old Venue was 4 shows a day. Morning/10am?, Noon, Matinee and evening/8pm?. It was a Stage show with Orchestra, the Rockettes and then a Movie on the giant screen. Later, Radio City went to a B'way schedule of 8 shows a week in which I worked on as well. So, I played as Sub-Principal, Only Bassist, Electric in Rhythm section, no DB for that Venue, the famous Christmas shows and others. I worked there on and off as it wasn't the best pay but it was work when you needed it. I also worked on some dates for Movie Scores in a Bass section or 2 to 4 basses as well as on Jingles from 1 to 3 basses that I recall. I was young, very young but I made a living and was one of the only guys that played all styles, both basses and could read as well as show up on time, most of the time..
Now that I am back playing, I am playing in a few local Orchestras and loving it. My old Bass I had back then sold for nearly $200k a few years ago to a European Orchestra. I had sold it after retiring a long long time before that but I did find it recently. So, you know now that I had not only a good bass then but a GREAT bass amongst good basses. In all the jobs I played and teachers I studied with, no one had a better bass but I has heard of them being around. I was lucky to find it, own it, care for it and use it daily to make my living. Now, it has a new family and is well loved as well.
Back to picking a Bass, having several basses of similar string lengths is a plus. Sometimes a particular piece is easier to play on one bass than another despite not being the best sounding of the group. I did some of Handel's Messiah earlier in the year and used the Storioni. Most all other times, I did my concerts on the Hart because of the Eb neck heel The heel of the Hart being lower than the others to transition into thumb position and the color of the tonal spectrum. Many people will say the Storioni is the best and loudest bass BUT, the Hart is the sweetest and not much less power, just different, deep and smooth as well. The Neuner is a good bass for all around things and jazz as well. I use it for most rehearsals but only on occasion in concert. Once I put on that Tux and bow tie, I need a bass to match!
