Getting more mileage out of a hybrid?
As I briefly mentioned in a previous blog, the Memphis Symphony Orchestra uses a somewhat unique hybrid orchestra model. 34 musicians comprise what is known as the “core” orchestra. These guys and gals are compensated on a consistent salaried basis over the 39-week season.
Aside from the core, the MSO also employs two sets of per-service musicians (“A” and “B”). 27 musicians make up the “A” per-service group and they are guaranteed at least 80 services a season while 14 “B” musicians get at least 62 services (services can be anything from rehearsals and performances to chamber group run-outs to local schools). Of course, on top of these contracted players, additional musicians can be hired on an as-needed basis.
What does it all mean? As you probably know, classical music can take many forms. Some music calls for as little as half a dozen players (or less) while big thumping Mahler symphonies can require over 100 bodies (that MET Orchestra concert I went to in NYC had over 120 musicians on stage!). Speaking in VERY general terms, the older music, the less players it requires (this is why the LA Chamber Orchestra plays more Mozart while the LA Philharmonic plays more Tchaikovsky). Therefore, in terms of size, a hybrid orchestra has the flexibility to be the LA Chamber Orchestra one week and the LA Phil the next. So the obvious upsides of a hybrid (compared to a full 100% core orchestra) is a wider range of repertoire and flexible fixed costs.
Unfortunately, no orchestra model is perfect. Hybrid orchestras also carry their downsides. Being a small chamber orchestra one week and a huge philharmonic the next means that you do not have a consistent set of musicians outside of the core. When playing the big works, it is similar to having a soccer team that only practices with a full roster part of the time. Inevitably, this flexibility makes it more difficult to reach your full potential every concert. Also, having multiple "sets" of musicians carries with it inherent personnel challenges tied to egos and respect that can lead to a less than ideal working environment (thanks for pointing this out Patty).
You will typically see hybrid orchestra models in mid-budget orchestras. They are not all that common (to this degree at least) and I am glad to have the opportunity to witness one firsthand.
Aside from the core, the MSO also employs two sets of per-service musicians (“A” and “B”). 27 musicians make up the “A” per-service group and they are guaranteed at least 80 services a season while 14 “B” musicians get at least 62 services (services can be anything from rehearsals and performances to chamber group run-outs to local schools). Of course, on top of these contracted players, additional musicians can be hired on an as-needed basis.
What does it all mean? As you probably know, classical music can take many forms. Some music calls for as little as half a dozen players (or less) while big thumping Mahler symphonies can require over 100 bodies (that MET Orchestra concert I went to in NYC had over 120 musicians on stage!). Speaking in VERY general terms, the older music, the less players it requires (this is why the LA Chamber Orchestra plays more Mozart while the LA Philharmonic plays more Tchaikovsky). Therefore, in terms of size, a hybrid orchestra has the flexibility to be the LA Chamber Orchestra one week and the LA Phil the next. So the obvious upsides of a hybrid (compared to a full 100% core orchestra) is a wider range of repertoire and flexible fixed costs.
Unfortunately, no orchestra model is perfect. Hybrid orchestras also carry their downsides. Being a small chamber orchestra one week and a huge philharmonic the next means that you do not have a consistent set of musicians outside of the core. When playing the big works, it is similar to having a soccer team that only practices with a full roster part of the time. Inevitably, this flexibility makes it more difficult to reach your full potential every concert. Also, having multiple "sets" of musicians carries with it inherent personnel challenges tied to egos and respect that can lead to a less than ideal working environment (thanks for pointing this out Patty).
You will typically see hybrid orchestra models in mid-budget orchestras. They are not all that common (to this degree at least) and I am glad to have the opportunity to witness one firsthand.
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