Skip to main content

Force Majeure

This week we are putting on a huge concert with the South Bend Symphony.  Strauss, Sibelius, Smetana, and Lalo - great tone poems, huge and complex works that tell deep stories and require serious preparation. 

And tonight’s rehearsal was canceled.

Tonight’s rehearsal was canceled, and mercifully the orchestra’s management was committed to fixing the problem. 

The Force Majeure clause in our contract, as in most contracts, would mean that the canceled service was UNPAID, despite having been on our books for months.  I’ve held this Tuesday night clear of other gigs and scheduled students around the rehearsal.  I might have hired a babysitter or arranged a playdate.  It’s been my job ever since the schedule came out in August to show up at 7:30 tonight ready to play Don Juan.  And just because we have two feet of snow on the ground and wind chills of 25 below, or whatever, suddenly I’m not making any money tonight, and no one is liable. 

At nine this morning I was on the phone with our operations manager and executive director, trying to find a place in the remainder of this busy, overcrowded week to reschedule the rehearsal.  We considered adding overtime to the remaining services, but in practice that would have resulted in long, fatiguing rehearsals which were too expensive for the actual amount of extra work we could get done.  We considered letting it stay canceled, and doing the concert on less rehearsal time, which was undesirable both artistically and financially.  We considered - and eventually settled on - the addition of an afternoon service later in the week, but it was not a given that we could arrange it.

Because this orchestra is not full time, everyone works other jobs.  Some are exclusively musicians, and some do real, “civilian” work during the day, so the choice to call a rehearsal on a weekday was fraught.  We on the committee had to ensure that players whose obligations prevented them from making the rescheduled date would still be allowed to play the concert.  We had to clear it with our  union local, since it was a last minute change to a time disallowed by our contract.  We had to decide whether to wait a day and put the options to a vote by the membership, or to make the decision right away so that people could start planning their schedules and adjusting their calendars. 

So that was a flurry of exciting emailing.  Actually the busiest I’ve been since all of this snow started.  We had it all settled before lunchtime. 

I’m so glad that in this orchestra we have such a good working relationship between management and the players committee.  I’m glad that they were committed to keeping us working.  I’m glad that a solution could be found.  I’m glad that we will still get to play this exciting concert, and that we’ll have the time we need to prepare it to the high level it deserves. 

I hope that people will come out and hear us on Saturday night.  Details HERE. 

Comments

  1. Bravo. You did a great job making this all work. We are so lucky to have you on our Orchestra Committee. Not to mention your expertise at playing the oboe. Without the added rehearsal we would not be ready for Saturday night. You should really submit this to Voice of the People. It deserves to be published in the Tribune.

    ReplyDelete

Post a Comment

Popular posts from this blog

IDRS 2014 - Day Two and OUT

I'm writing my Day Two report while all of my colleagues and friends, new and old, are well into their Day Three experience.  I was terribly sad to leave NYC, and IDRS.  In past years I've found myself sort of oboe-ed out by the third or fourth day, but I was nowhere near that point last night when I had to begin my schlep to the airport.  On the up side, I am home and spent the morning with Zoe and Steve, and I'm safely on the correct side of Lake Michigan well before my concert tonight, which was the important purpose of my travel plans - but there are SO MANY MORE great events happening at NYU.  Best of luck to everyone performing! Yesterday, among other performances, I enjoyed THREE recitals featuring music for oboe and bassoon.  Be prepared for a husband-wife recital coming down the pike in the next year or two, as I loved much of the new music that I heard.  First I enjoyed hearing ToniMarie Marchioni and two of her colleagues from the University ...

Practice+ App - and my FIRST EVER GIVEAWAY

You know how, when you are practicing, you need to have your metronome on your stand and turn it constantly up and down as you work through a technical passage?  And you also want to play in tune, and make sure you are staying consistent with your pitch.  So while your metronome is clicking away on your stand, you also have to turn half-way around to look at the screen of the big tuner which has to be plugged into the wall because it eats batteries otherwise.  And if you also want to record yourself to listen to your progress, you have to have your laptop on with the big mic plugged into it, and that’s on still another surface, so you have to move your stand around so you can orient to all three, and then your giant stack of music-in-progress falls off the stand and onto the floor and out of order and the next ten minutes are spent not practicing at all but just trying to return to normalcy. Does this sound familiar? I was sent a free promo copy (full disclosure) of an...

Beauty of Sound

In our dress rehearsal Saturday afternoon, the conductor did exactly what I often do to my students - he asked the violins to play more beautifully, and they did.  He didn’t tell them how, or give them a flowery expressive speech, he just asked for more beauty of sound, and they immediately gave it to him.  To a great extent the sound we produce is set, based on our equipment and the shape of our mouths and our bodies - but it can be altered, too.  Adjustments in reeds and instruments can go a long way, but the key change we can make is in our own minds. I don’t know how to explain it physically, but if you determine the sound you want to make you can produce it.  Or at least you can lean in and approach it.  This is something I’ve been paying a lot of attention to lately in my own playing.  As I prepare the Saint-Saëns Sonata to perform on our Oboe Studio Recital (tonight at 7 - details HERE ), my approach is largely about beauty of sound and vibrato....