playing good / being super lousy self-manager problem, can you relate ? :)

[ivsverko]

I wanted to make a thread on this topic for a long time.
Since this is a classical music forum, I guess many will relate to my story.
Since the tender age of nine I have dedicated most of my life to music. Practicing, performing, winning music competitions one after another. Graduating from music school, academy and currently doing postgraduate studies in performing arts.

Still, in a nutshell, I do not get enough opportunities to perform. Which is ok, I am not naive. Nowadays, if you want to reach very high level  and to be recognized as a sought-out performer, you either have to be backed-up by an agent, or to do work on your own, very hard work in making yourself known. Maybe there are some other means to an end, but I am not familiar with them.

Almost every time I got a decent performing opportunity, I mean something like a recital tour, a high-profile festival, playing as a soloist with the orchestra, getting a piece written for you from the well-established composer, getting some radio, internet or TV space.. all of that was usually triggered by winning some important competition.

When I win a music competition, it gives me a chance to perform somewhere. The reactions are great then, from professionals, music critics etc. They ask me why am I not performing much more, I should get this chance, I should get that chance. After the concert is over, many of them are being overly enthusiastic and promising much.

But a week or two after the concert usually nothing happens. Then I start to seek opportunities on my own - and I am terrible at that.  Usually I send emails or call festivals, artistic directors etc. , send my i artistic biography, youtube links, webpage links... but it is not working so well. It doesn't even work in some small summer festivals even though you ask for very modest price.

On the other hand, I can see some other people playing the same instrument. They level of musicianship is not necessarily very high, but they put the emphasis of making a brand out of themselves and playing anywhere from USA, Europe, Asia, project after a project. 

It could be due to character traits - I am slightly introverted in the sense that I do not enjoy calling people and persuading them to book me, I have problems asking the price I should ask (pretty standard actually)while some other people seem to not have shame.


They just have that inherent ability, to sell their skills. This is bugging me more and more. As of recently, I have decided to stop competing and focusing on recitals, concerts, commissioning new pieces.. But I just do not know what are the rules of the game if you want to reach the highest level.

If I was to be asked, I would pretty much like to close myself in the room and spend hours perfecting page 27, 16th, second beat. 
If I had many bookings ahead of myself, that's exactly what I would do, but it seems times call for a different approach, and a more business-oriented mindset.


If somebody is willing to share their perspective to the subject, I'd be grateful.

[Karl Henning]

Entirely, speaking as a composer/clarinetist who hasn't succeeded in developing any career at all.

I have a friend and colleague now in Finland, an excellent composer; perhaps I can introduce you two, and you might work out a piece for accordion and choir? Just a suggestion out of the blue.

[Cato]

Ivsverko: you are learning that musicians in general - not you! - are a mercurial and untrustworthy bunch! 

I have all kinds of stories about talking with performers, who have all kinds of plans and promises about performing my works, but who then cannot be contacted or never return follow-up calls or - in one extreme case - act like they have no idea who you are!   

So keep trying!  If you can find a professional theatrical agency to push your career, that would be the best.

[dyn]

Talent is a dime a dozen. What you're after is star quality, which is much much rarer (and usually groomed for since childhood).

To have a solo career you need a few things—a sort of magnetic, extraverted personality and physical "presence" (no mousy librarian types); friends among influential musicians/critics/publishers/conductors etc; a publicist; at least one or two important prizes and awards; and a fairly standard 18th/19th century repertoire (possibly diversified by the addition of some 20th century music if it's of a highly virtuosic character). If you're a man you need to play well but with a personality quirk; if you're a woman you need a pretty face and nice legs.

otherwise, you may as well start looking for jobs in ensembles or music schools. Or go into pop music, i guess.