Careers
Time for a rant – and perhaps one that won’t be to everybody’s taste; but it’s a great relief to be writing again about (a musician’s) life, rather than another farewell – there have been far too many of those recently…
So – careers: I work a lot with young musicians these days (I used to be one myself, in fact – though rather too long ago..). In some ways, I’m very encouraged by developments in today’s musical world. When I was studying in the US in the late 70s, for instance, there was among some aspiring young players a notion that a ‘soloist’ shouldn’t play chamber music – or very little of it, anyway, and then only in the summer. This wasn’t a view held by everyone, of course; but lamentably, it wasn’t a particularly unusual approach, either. Nowadays, just about every young instrumentalist I can think of plays chamber music on a regular basis; it is viewed as an important aspect of most musical lives – as well it should be, for a huge variety of reasons. It is accepted today as being by no means incompatible with a ‘solo’ career. In another pleasing development, the language that musicians use has changed: back in those days of the 70s, ‘aggressive’ was, to my surprise, often intended as a compliment (as in: ‘So-and-so is an aggressive violist’). Nowadays, I’m glad to say that it is, as a rule, used only pejoratively in the music world; we’re not financial traders! Of course, there is room for aggression, even violence, in much great music; but to adopt an overall ‘aggressive’ approach to one’s instrument cannot be a good thing, surely.
In a less pleasing development, I’m often a bit horrified these days when I hear from my young friends about the advice they receive from managers and others as to how to further their careers. Of course one has to be realistic about the music world: presenting oneself well is important – and why not, after all? We have to live; and it’s pretty much impossible to survive as a musician without some sort of self-promotion. (I was so annoyed by a story told to me many years ago by a friend whose career wasn’t taking off. She had dinner with a famous musician – who was playing everywhere – and complained to him that she couldn’t find an agent who would take her on. ‘Forget about agents,’ was his pompous advice. ‘Try to think about the music.’ Easy for him to say.)
The question is: where does one draw the line between legitimate self-promotion and cheapening oneself? It’s a really difficult distinction: just about every musical career is going to involve compromises, inescapably; but one can all too easily make so many, and such major ones, that one reaches a point of no return. Perhaps some of those who are in the music ‘business’ (I hate that expression) but are not performers themselves are partly to blame: I hear of seminars in which young musicians are told how often to post online, what the content should be, as well as what to wear on a daily basis – even which watches to acquire! Of course, this advice can be useful, and is often well-meant; the danger, though, is that the main purpose of being a musician will get sidelined. If the music itself is no longer the main focus, what’s the point? I’m not, needless to say, criticising online activity in general. (I really can’t; I myself spend far too much time on Twitter – and as you may have noticed, I’m writing on Facebook now…) Furthermore, one has to be sensible about one’s career. I behaved stupidly as a youngster, so anxious not to suck up to ‘important’ people that I’d end up being quite rude to them; that was just pointless, and I really don’t advise it – nor am I proud of it in any way. But on the other hand, everything career-oriented must be kept in proportion; it has to be a means to a higher end – always.
So yes, an online presence – as well as other sorts of publicity – can be extremely helpful for a young musician these days; but the question remains: what sort of online presence? The main point, I think, is to be oneself – not to follow rules and fashions. I am so fed up of reading/hearing how ‘excited’ this or that musician is to be playing a concert with this or that orchestra. It may be true (sometimes) but it’s become such a cliché; think of an original way to express your feelings! And perhaps ask yourself exactly why you’re sharing it. Is it a genuine desire to let people know what you’re doing – or is it more just showing off? Furthermore, spare a thought for those who haven’t got many engagements; how will they feel, reading about your success, when they’re desperate for concerts? (Of course, they don’t HAVE to read your posts – but all too many of them will…) For myself, I’d much rather read an honest account of someone being nervous before a concert, or an amusing remark someone has made, even if it’s not flattering, than an account of your latest triumph, or triumph-to-be. I want to sense real people, not robotic PR machines! Boasting about how successful you are is not only unattractive, it can also reflect badly on you as a musician. (Lars Vogt used to say that there were some artists who came on stage in such an arrogant way that he was bored before they played the first note.) Vulnerability is not a bad thing, no matter what some people may tell you; we need it in music…
Each career is going to follow a different path – and that now applies to online presences as well. Everyone has to find an individual way; but find it by being you, not by following dubious instructions or trends. And keep the true goal in mind: being a good musician! Of course, it’s undeniably gratifying to have lots of ‘followers’ or ‘likes’, or whatever; but at what cost? You have to ask yourself what sort of career you really want. Perhaps the first person to post a nude performance of a Beethoven piano sonata, or to play a Bach violin partita sitting on a horse (please don’t tell me that these have already been done!) will get lots of attention; but so what? Are those players really going to be able to transform that into appreciation for their musical performance of great works (presuming that that’s what truly matters to them)? Or are they going to be stuck in a spiral in which they have to think of ever more ‘original’ (for which read, often, ‘degrading’, or just plain silly) stunts in order to keep the spotlight on themselves? Is that going to be truly satisfying?
There are, of course, many musicians who have become public figures by using online platforms, without sacrificing any of their artistic integrity (Joyce Di Donato, for instance, to take just one shining example). I think it’s true to say, though, that these musicians have used the publicity in order to come closer to their audiences, to communicate their art more effectively, not purely as a way of showing off. It’s when one gets the impression from a musician that garnering attention, furthering the externals of a career, has become the main focus, more important than the music itself, that questions need to be asked; and of those questions, perhaps the most important one is: will that make them happy? Is that really what they want?
Sorry – quite a rant today! All I’m saying, though, is – be sensible, be practical, by all means; but never forget why you became a musician in the first place.
