After one orchestra where I've subbed for a long time recently revamped their substitute hiring procedures for my instrument (not favorably), it got me thinking how substitute/extra horror stories are a dime a dozen among major orchestras.
Are there any orchestras out there who handle this process particularly well? If so, how?
Is there a transparent hiring process?
Is there a predictable hiring practice? How is it predictable?
Do you know your ranking on the sub list? Is this clearly communicated? Is there a call order? Or is the hiring rotated among a pool of people?
How far in advance are you hired? Do the full-time orchestra members advocate for their subs? Or are they kind of clueless about the whole sub process? I ask this because some orchestra members won their jobs early in their careers and never really participated in freelance work "in the trenches," and often don't approach sub issues from a point of understanding, or empathy. How involved is your Principal in the hiring process? Do they change their mind frequently with sub hiring decisions?
... and probably a bunch more questions to ask!
I have a sense that the answers to this question might significantly vary depending on the instrument. String section sub lists (violin in particular) might often be totally administered by the personnel manager, given the frequency that subs are needed and just the physical distance between the principal player and the back of the section. But winds/brass/perc principals may be more involved in the administration of their sub list, and they may have very good reasons for some perceived inconsistency and lack of transparency surrounding the process. For example, their own evaluation of each sub‘s strengths and weaknesses would determine who gets called for what, and that’s not information they’ll necessarily want to share with everyone. I find that seniority (how long someone has been on the list, while continuing to sound good and be reliable) plays a large part in these decisions. Freelance life is definitely tough, and it often requires significant patience, to slowly gain that seniority and earn the trust of the principal and section.
I’m curious, in what way was the substitute hiring procedure revamped?
In my particular orchestra the principal makes all changes to the hiring list and the section members are consulted for their opinions. Sometimes the music director also makes their opinion about a substitute player known to the principal, and the sub list is changed because of that. The list is very organized and is open for changes once a year. I feel like it's a good system. I know of some orchestras who don't even seem to have a list and go by whomever the principal wants to recommend that week.
I wouldn't assume the full time orchestra members aren't empathetic about being a substitute musician. We haven't always had the jobs that we do now, and we have all substituted in other orchestras besides our own and we have an understanding of what it's like. It's the principal's job to make their section sound as good as possible, and sometimes the principal has to make tough decisions that aren't going to make everyone happy. Unfortunately substitute musicians have no rights and are at the mercy of the hiring process, but that's one of the drawbacks of being a freelance musician.