It's nicer to make a post in a nice theater where I play, telling you about a nice experience or a nice concert.
But what about the backstory? Who tells that?
Sometimes during endless train journeys, it happens to meet people interested in the bulky friend I carry with me, surrounded by luggage. These people ask me questions with interest, and I realize that they have a completely distorted idea of reality.
"How wonderful you work with music!"
"You travel the world playing!
Actually, I cannot deny that these statements are true.
They're real! But what about the rest? Are we talking about it? Do you know enough?
We freelance musicians go up and down, traveling at any time of day or night, eating at unlikely times (when it happens, or when we are given a break), we sleep when we can, we ask for hospitality around like nomads because almost no one recognizes the often we need necessary expense of accommodation in our cachet, we run left and right to fit in all the commitments that are asked of us, trying in every way to organize ourselves in company just to save some money, why yes: has anyone ever told you that we are very underpaid compared to the hours we work?
And by "work" we also mean the necessary home study and the obligatory trips to reach various places. This is why we also very often combine multiple productions on the same day: it's the only way to earn a salary!
Not to mention holidays or banal weekends: it's difficult to carve out time for yourself when you feel forced to accept all the work that comes, when there is, as long as there is...!
Because there are many arrears, and waiting for payments is our favorite sport.
It happens that you have to accept everything, even unacceptable working conditions, working with people who are sometimes very unprofessional, who do not respect your professionalism and your good faith or not they appreciate or value your commitment and dedication. This happens too, yes.
Do you want to be a musician? Or you win a stable place in a theater by embracing the entire system of competition and very tough selection that lies behind it (inexorably accepting that art must pass through an unquestionable judgment that establishes whether you can or cannot work in music, and unfortunately you know that this is the only way you can be protected in the workplace), or you make a choice: you continue running here and there chasing what makes you feel good, what makes you happy, that is playing, but accepting to be branded as "marchettaro", which in common thinking is an italian world equal to "failed musician".
Ah, you didn't know this too? You will be amazed to know this sad side of our idyllic bubble in which we always say we do the most beautiful job in the world only because we have the privilege of living our days through the eyes of geniuses such as Mozart, Beethoven, Verdi, etc.
Ah, now that you also know this side of the coin, will you still want to smile at a musician you meet by chance in any station?
Perhaps better a smile of support, help, understanding, and displeasure.
Here the choice can arise spontaneously to try to enter some ranking, trying to stabilize one's life within a more consolidated and secure working reality.
But I reflect on the intention with which a choice like that of the teaching.
I know well that reconciling teaching and concert activity is possible, I too was a student of concert teachers! But how sad it is to know when the choice to teach is dictated only by a desire to have a salary and stability.
Teaching should also be a vocation, there should be a real desire to do it with commitment and dedication! It is not certain that all musicians have the interest or the passion or the patience to also cultivate this aspect of musical life which is teaching: it is an activity that is explained in specific pedagogy courses, precisely because it deserves a passionate journey as much as the musical one.
Being a good musician is almost never synonymous with necessarily being a good teacher.
Many other qualities and predispositions are also needed.
Teachers when they don't choose this direction of life just for "convenience", but follow a specific and specialized path are now rare, and a very precious resource to be proud.
What I fear is that my words will never have the impact I seek, that I would like, that I hope for, and from which it should follow a real change.
I believe that even many musicians, colleagues, who know very well what I'm talking about, who know that what I write corresponds to the truth, are afraid - because we all are - of being branded as "too stiff", "too complaining", "not very flexible".
Fear of never being called again.
Fear of not getting any more work.
Fear of having one's name and image conveyed badly.
And think: all this just because the truth is described!
I have already earned this name in many environments, so fear no longer governs me!
I take the risk: I tell the truth. And what about you?
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