‘Crop rotation’: How portfolio careers can be creatively (and financially) rewarding

Amidst the onslaught of cuts in the Arts in recent years, music has received a particular battering. It started in education; the collapse of County Music Services, the slashing of music specialists in schools, the withdrawal of subsidies for instrumental lessons, ensemble work and so on and so forth. It has undeniably affected the profession and musicians have suffered equally with live music being pushed down the list of priorities – to the point of annihilation in some cases – and ‘jobbing’ players have felt this more acutely than anyone else. The reasons for this have varied, but at its root, successive governments have simply refused to acknowledge the importance of music in the nation’s culture and its incalculable benefits on the individual and society. The effect of this has meant that freelance players have had to duck and dive in order to survive financially, practically and creatively.

The practical skills and conditions required for the increasingly rare full-time players are obviously different to the multifaceted freelancers. These are the individuals who manage to create a living through orchestral jobs, chamber groups and solo careers and enrich all of us because of this. If they choose to teach, it is usually in the form of masterclasses or professorships and takes up a relatively small part of their working life, the rest of which is devoted to performance, travel and practice. It is right that they should do so; they would state that it would be impossible to work at their exceptional level without hours of daily practice and diversifying away from this would reduce their skills and creativity.

It is not really this diminishing group however for whom diversification needs to be addressed. Variety in work for the majority of freelance musicians is increasingly necessary, and can be looked at positively and even arguably as a contributor to a more fulfilling lifestyle. Phrases such as ‘transferable skills,’ and a ‘portfolio career’ are occasionally applied sniffily, but I prefer Joni Mitchell’s term ‘crop rotation.’ On being asked whether she ever suffered from writer’s block her answer was ‘no’ – on the basis that she paints in between composing and therefore ‘crop rotates’ between creative outlets. It is a deliciously positive way of looking at work and life and I believe is actually capable of enhancing creativity.

A quick poll amongst colleagues exemplifies this; alternative income streams include teaching, conducting, composing, arranging, instrument repair, journalism, sound engineering, creative workshops and writing. Most seem to enjoy the stimulation; teaching complements playing, arranging supports teaching and conducting, and writing supports personal development and musicianship. It’s also worth noting that there is nothing new in this; 18th century musicians were always having to earn money in a number of ways. Bach was an organist, teacher, choir master and composer, Mozart had a peripatetic lifestyle as a performer and teacher as well as composer and others understood that pleasing the aristocracy as well as the general public was an essential way of making a living – with varying degrees of success.

The public has never quite been able to work out where musicians sit in class terms; on the one hand, fame can produce enormous praise, god-like status, indulgence and sycophancy. On the other, the majority of musicians will be perfectly used to arriving at the ‘tradesmen’s entrance,’ with pay and conditions at the same level as bar and kitchen staff – or worse. The perception is still there that playing is ‘fun’ or ‘a hobby’ and that somehow musicians can work for derisory fees or ‘exposure’, a view totally at odds with the level of skill required and the practical needs for minimal living standards. The majority of creatives are therefore quite used to embracing flexibility in making a living. However, others decide to demote their skills to the very level at which they are paid – in other words to that of a hobby. Many of us will be quite used to bumping into excellent players who – on being questioned – explain that, despite having degrees in music, have gone on to become accountants, engineers or doctors. They choose not to put up with the lowly status attributed to musicians, the unpredictable income and the sometimes dreadful working conditions.

Being able to cope with working conditions that require adaptability is an essential skill for the modern musician. It is pleasing to note that many newly qualified graduates understand this and that some of the better higher education establishments have prepared students for flexibility. If you have a fairly low boredom threshold, then variety can be embraced or even celebrated. It can add an extra dimension to life that is richly fulfilling and complementary. If, on the other hand, you are a deeply committed player with only one musical track in mind, then serious questions need to be addressed about whether a musical career is for you.