Hiring Subs from Other Full Time Orchestras: Is it Fair?
Something that seems to be more prevalent in the wind sections of full time orchestras is hiring substitute musicians from other full time orchestras. Why is that? I get that the orchestra wants to keep their concerts at a high level, but the musician already has a full time tenured job elsewhere. Hiring substitutes from other full time orchestras takes opportunities away from local freelancers who are just as good, if not better. Another thing to note is these musicians being hired seem to almost always be in an orchestra and live out of state. Why are orchestras mainly giving substitute opportunities to those who have already won and have their own job somewhere else? Why wouldn’t an orchestra hire someone local who can confidently fulfill the needs of that position?
Similarly, if the substitute is hired to play principal, but they are a 2nd chair in their own orchestra, why wouldn’t the 2nd of the hiring orchestra play principal in their own orchestra? Or even the Associate Principal? This whole thing feels extremely gatekeep-y and elitist and is incredibly frustrating for those of us trying so hard to get opportunities especially in our own towns.
It’s important to keep in mind that there are a lot of factors related to hiring guest/substitute musicians that may not be apparent unless one is familiar with each particular situation. For example, it is not uncommon for an orchestra’s CBA to require, whenever possible, hiring someone who has previously been in a final round in an audition for that orchestra. Quite likely that is someone who has also done well in other auditions – ie. won a position in another orchestra. In addition, the hypothetical second chair player in your example very likely was in the finals for a principal or associate audition for the orchestra in question, and/or is known for having relevant experience as a principal player.