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"Orchestral Performance Tips"

by Maria Harding
Principal Flutist, Omaha Symphony Orchestra

What is it like to be a musician in a full-time professional orchestra? A lot of flutists wonder whether it is the kind of career that would fit their lifestyle, or they may wonder what they need to do to begin seriously pursuing an orchestral career, or perhaps they are just curious about what crossovers there may be between orchestral flute playing and the other rich and varied possibilities for flutists.

Orchestral work schedule:

In a Regional Orchestra such as the Omaha Symphony, I think the best word to describe our schedule may be "varied". This presents great challenges, as well as fantastic opportunities for a broad experience and continued learning. Every week our schedule is different. One week, all of our rehearsals may be in the evenings as we prepare for a big concert that features symphonic repertoire. Then the following week we could be simultaneously rehearsing 3 new programs: one for an outreach concert at a local church, the second may be an educational program for middle-school students, and then a Pops concert-set with a famous guest artist. Some rehearsals are in the morning, others in the afternoon or evening. To add more excitement to the mix, I am the mother of two wild and fabulous children, aged four and one.

So how do you manage an erratic schedule like this? Organization. In the summers, our off-season, I try to look ahead at our upcoming programs to see what difficult repertoire is coming, and I start practicing and listening to recordings right away in some cases. Then during the 38-week season, we receive our music at least 7 days prior to the first rehearsal for each program. Again, procrastination does not serve you well; you take a look at the music right away and make indications in the margins or on a notebook, reminding you which pieces or sections are particularly difficult. Then in your personal practice sessions you go straight to those tricky passages - there's no time to waste! Ideally I should be practicing 3 to 4 hours a day; realistically I feel good when I get 2 hours in. In my family life I have to look weeks ahead to see where my schedule and my husband's (a freelance flutist and teacher) collide, and arrange for child care. It is a lot to juggle, but I like the variety; it keeps me on my toes. I also enjoy my colleagues in the orchestra so much; I consider them among my closest friends. And best of all, most of my work, the practicing, is done at home, where I am comfortable and close to my family.

Auditioning for a job

When a position becomes available in an orchestra, it is advertised in the Musician's Union publication, "The International Musician". Flutists from around the country submit their resumés, and based on that printed information, the flutist may or may not be invited to audition. If you get a rejection letter but feel you are qualified for the job, it is perfectly acceptable to contact the personnel manager to see if they would reconsider hearing you if you could provide letters of recommendation or a high-quality recording of your playing. Once accepted to the audition, the applicants receive a list of music excerpts they are expected to play. To help prepare for an audition I would suggest the following:

Put copies of all of the required excerpts into a 3-ring binder to keep them together. Always study from copies, because you never want to mark-up your originals too much. Over the years you may change your interpretation of pieces many times.
Gather recordings of the music on the list. Take note of performance tempi, what other instruments you are playing with, and what musical style the piece is in.
Record yourself practicing. It's horrifying, but very helpful.
Practice regularly with a metronome and a tuner.
Play for other musicians, flutists, other instrumentalists, or conductors.

The audition itself is a very nervous experience. Help keep nerves at bay by avoiding sugary foods and caffeine. Like all other skills, auditioning gets easier the more you do it. So take them as often as you are able to. Also consider contacting orchestras within driving distance of where you live, and ask them if they have auditions to be included on a substitute player list. Very often they do - either one each season, or by appointment.

Applicable Parallels:

Many of the skills you need in order to enjoy an orchestral career are also just as pertinent to being a musician in general. An amateur musician or a professional freelancer should schedule regular performances as a way to share your music. This gives you the opportunity to collaborate with other musicians, to move on to other pieces, and to activate the skill that you enjoy having as part of your life. The forethought and the organization that are so crucial in my job are also necessary if you are to create your own performance opportunities. You must make practicing and rehearsing part of your weekly priorities, as an orchestral player does, and get them down "on the books" as early as possible. And the preparation method that I suggested for auditions is just as helpful in anyone's practicing - whether student, amateur or professional.

Above all, enjoy what you do. Take advantage of all the resources available to you: Concerts, Colleagues, Libraries, Teachers, Clubs. Relish in your abilities as a flutist.

Maria Harding has held the position of Principal Flutist with the Omaha Symphony and Omaha Symphony Chamber Orchestra since 1997. In addition to her duties as an ensemble player, Maria spends a lot of her time supporting the orchestra's educational programs through her work in the Omaha Symphony's woodwind quintet, by coaching students in the Omaha Area Youth Orchestras and by participating in the recently established Omaha Symphony residency outreach programs.

As a soloist, Maria has been invited to perform with the Chamber Orchestra on numerous occasions. She has also appeared with the Richardson (TX) Symphony Orchestra and with the Bangor (ME) Symphony. She has given recitals in cities across the United States and was a featured performer in the 1996 National Flute Association convention in Orlando. In November of 2001, she performed as a recitalist in the prestigious Bagels and Bach series at the Joslyn Art Museum in Omaha.

Her previous orchestral experience includes positions in the Lubbock (TX) Symphony Orchestra and in the Charleston (SC) Symphony. For two summers she also participated in the Castle Festival in Heidelberg, Germany.

Studies include a Bachelor's degree from the Eastman School of Music, where she studied with Bonita Boyd, and a Master's degree from the Cincinnati College-Conservatory of Music, where her primary teachers were Bradley Garner and Jack Wellbaum.

Maria is married to professional flutist, Nestor Herszbaum, and has two children.

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