What is the concertmaster job?
The first chair violinist of an orchestra—known as the concertmaster—is a vital musical leader with widely ranging responsibilities, from tuning the orchestra to working closely with the conductor.
How much does a concertmaster earn?
The current top salary for a Concertmaster is approximately $622,000 1, according to Adaptistration. The top-earning Concertmaster is with the Cleveland Symphony Orchestra. But not everyone makes that much. “In my experience, most Concertmasters are compensated based on a percentage overscale,” Lees says.
How do you become a concertmaster?
Career Path to Becoming a Concertmaster
- Do You Have What it Takes?
- Get a Degree From a Respected Music Program.
- Top-down, or Bottom-Up?
- Audition for Solos.
- Audition for Competitions.
- Become a Music Teacher.
- Join a Local Orchestra.
What does it mean to be a concertmaster?
Freebase (5.00 / 1 vote)Rate this definition: Concertmaster The concertmaster is the leader of the first violin section of an orchestra. In the UK, the term commonly used is leader. Any violin solo in an orchestral work is played by the concertmaster. It is usually required that the concertmaster be the most skilled musician in the section,…
Who is the concertmaster of the Symphony Orchestra?
The variety of concertmaster described above—a violinist who oversees the first string section—works as a full-time employee for a symphony orchestra, one per orchestra. Symphony concertmasters typically work their way up to the position after many years with the orchestra and prior leadership positions (e.g. principal second violin).
How much does a Cincinnati Symphony Orchestra concertmaster make?
Career Overview: Leads violin section of the orchestra, performs as a soloist, decides on bowings for the first violins, and works closely with the Conductor. Career Salary Range: $116,468 to $615,924. Timothy Lees is the acclaimed Concertmaster of the Cincinnati Symphony Orchestra.
What are the paradoxes of being a concertmaster?
”The concertmaster’s job involves several paradoxes,” said Mrs. Eisenberg. ”On the one hand, I must play with the discipline of an orchestra member and strive to blend with the other first violins. Yet when a passage arises for violin alone, I must play with the freedom and brilliance of a soloist.