Professional orchestras are composed of highly skilled musicians with rigorous training and extensive experience, while youth and amateur orchestras include musicians still developing their skills. Professional orchestras perform a broader range of complex works, while amateur orchestras focus on simpler pieces. Professional orchestras have more rehearsal time and greater opportunities to perform in large venues and international tours, while amateur orchestras are restricted to smaller local venues. Professional orchestras are also paid regulated rates by musicians’ unions, while amateur orchestras may not receive any compensation or only small honorariums.
These differences highlight the contrasting skill levels, experience, repertoire, rehearsal time, performance opportunities, and payment between professional and amateur orchestras. The impact of the contrasting levels of skill, experience, repertoire, rehearsal time, performance opportunities, and payment between professional and amateur orchestras can be significant for composers and arrangers. When composing for professional orchestras, composers can assume a high level of technical skill and push the boundaries of what is possible with a larger ensemble, writing more complex pieces. Composers writing for youth and amateur orchestras, however, may need to consider the technical limitations of the musicians and write more straightforward music. Arrangers may need to adapt existing music pieces to the orchestra’s skill level, such as arranging complex pieces more straightforwardly for youth or amateur orchestras while introducing complexity and intricate extended articulations for professional orchestras. These considerations highlight the importance of understanding the differences between professional and amateur orchestras when creating music.
I have listened to Aaron Copland’s An Outdoor Overture (1938), which aligns with the key aspects mentioned earlier. The composition maintains an engaging and lively musical atmosphere. The techniques employed demonstrate a high level of proficiency, including the skilful execution of fast runs, as evident in the performance observed at the 5:31 mark. The composition maintains a level of simplicity that allows young musicians to showcase their skills while providing an enjoyable and musically satisfying experience. Tansy Davies’ (1973) composition Re-greening (2015) presents a distinct approach to composition. The examined score suggests a higher level of proficiency expected from high school musicians. This is evident through the incorporation of numerous extended techniques and the requirement for each musician to perform independently without a conductor, albeit with a suggested sectional leader. While the composition may not be excessively complex, it certainly avoids being simplistic, showcasing a fine and intricate musical structure. Finally, Vaughan Williams’ (1872-1958) English Folk Song Suite was composed for the Royal Military Band. Indeed, it is a composition that adheres to a straightforward and accessible style without overt complexity. However, its simplicity does not diminish its captivating character. The piece exudes a lively energy and vibrant drive, making it enjoyable and well-suited for performances within a reasonable budget. Its melodic and rhythmic qualities will seem to resonate with audiences, making it a favourite choice for ensembles seeking engaging repertoire.
As an amateur musician who has learned to play various instruments such as guitar, bass, drums, singing, and piano, I can attest that the differences between amateur and professional musicians and orchestras are applicable across different musical fields. I have observed that professional musicians spend considerable amounts of time practising and honing their craft daily. In my experience as a member of a rock band in the 90s, finding performance opportunities was challenging as an amateur band compared to professional bands, which led to limited opportunities for exposure and smaller retribution. Additionally, the repertoire was limited to the band’s skill set, and we had limited rehearsal time due to time and economic constraints. These experiences highlight how the differences between amateur and professional musicians and orchestras can impact classical music and other genres.
Upon this research, here are my 10 do’s and don’ts when composing for Youth and Amateur orchestras: 1) Write challenging but not too tricky music. 2) Ensure the notation is easy to read and understand. 3) Write idiomatically for the instruments considering the limitations. 4) Balance the ensemble so every section has exciting parts to play. 5) Make sure there are solos parts. 6) Use the players’ strength without pushing the limits too much. 7) Try to make music engaging for players and audiences alike. 8) Keep in mind the limitation of rehearsal time. 9) Try to get feedback from other composers or conductors. 10) keep in mind the size of the orchestra. Don’t do: 1) Write too complex music. 2) Overuse complicated extended techniques. 3) Write too simplistic music. 4) Avoid harmonic accompaniment. 5) Don’t overexpose parts. 6) Don’t keep too many repetitive parts. 7) Don’t forget the size of the ensemble. 8) Don’t forget to use melody to engage instrumental solos. 9) Don’t’ write too long pieces. 10) Enjoy the process of composting for youth or amateur orchestras and appreciate the players’ efforts.
References:
BBC. 2nd August 2016. The BBC. Great Orchestra Challenge. Accessed on 08/05/2023 from: https://www.bbc.co.uk/mediacentre/latestnews/2016/great-orchestra-challenge
Burns, A. Ralph Vaugham’s English Song Folk Suite. Accessed on 10/05/2023 from: https://classicalexburns.com/2022/11/21/ralph-vaughan-williams-english-folk-song-suite-memorable-melodies
Copland, A. 1938. An Outdoor Overture. Boston Civic Symphony, Regis College Fine Arts Center. 2006. Accessed on 10/05/2023 from: https://youtu.be/_xj3axG7Hos
Davies, T. Re-greening . 2015. Faber Music. Accessed on 10/05/2023 from: https://www.fabermusic.com/music/re-greening
Duchen, J. Insiders Anonymous: The conductor of amateur orchestras. Classical Music Magazine. Accessed on 08/05/2023 from: https://www.makingmusic.org.uk/news/insiders-anonymous-conductor-amateur-orchestras
Gellis, H. Orchestra List. Accessed on 08/05/2023 from: http://orchestralist.net/olist/registry/easyrep.php
Howard, O. An Outdoor Overture. Accessed on 10/05/2023 from: https://www.hollywoodbowl.com/musicdb/pieces/193/an-outdoor-overture
Maccarthy, J. 12th July 2013. Does it really matter if a choir is ‘professional’ or ‘amateur’?. Accessed on 08/05/2023 from: https://www.gramophone.co.uk/features/article/does-it-really-matter-if-a-choir-is-professional-or-amateur
Orchestra Agreement. Musicians Union. Accessed on 08/05/2023 from: https://musiciansunion.org.uk/working-performing/orchestral-work/orchestral-agreements-and-rates-of-pay/orchestras-under-the-abo-mu-agreement
Perlis, V. 1998. An Outdoor Overture, version for Orchestra. Accessed on 10/05/2023 from: https://www.aaroncopland.com/works/an-outdoor-overture/
Ralph Vaugham’s English Song Folk Suite. Classic FM. Accessed on 10/05/2023 from: https://www.classicfm.com/composers/vaughan-williams/music/english-folksongs-suite/
Royal College of Music. Performance Opportunities. Accessed on 08/05/2023 from: https://www.rcm.ac.uk/life/preparingforprofession/performanceopportunities/
Royal Philharmonic Society. Further Opportunities. Accessed on 08/05/2023 from: https://royalphilharmonicsociety.org.uk/composers/further-opportunities
Vaughan, R. English Song Folk Suite. Accessed on 10/05/2023 from: https://imslp.org/wiki/English_Folk_Song_Suite_(Vaughan_Williams%2C_Ralph)
Williams, V. 1924. English Folk Song Suite. 30th April 2017. Quad Cities Symphony Youth Ensembles. Performed in Adler Theatre, Davenport, Iowa. Accessed on 10/05/2023 from: https://youtu.be/CV4IuM01QPA
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