Newly qualified young musicians with high hopes often find they have to keep in mind both artistic success and financial independence when deciding about there future. In the first instance competition becomes extreme - they have to participate in important competitions or musical seasons of high standard; this is no easy feat as young pianists have no important name to open the way. The second possibility is to belong to prestigious symphonic orchestras such as the RAI, Pomeriggi Musicali, the Philharmonic of the Scala or other Institutions that can offer permanent employment. But in this case too it is no simple matter. Competitive examinations have lately been stopped and auditions are held occasionally for a few posts, but the massive presence of participants makes victory virtually impossible. For now, participating in auditions organized by small orchestras, solves the problem. This is no small matter in a moment of serious crisis in the musical world. The third possibility consists in forming a chamber orchestra - it offers the chance to become famous concert artists but, on the other hand, does not solve the financial problem, as concerts are never certain and never many. Teaching proves to be a sure, long term solution and can develop in two directions – teaching in Conservatoires and in Secondary Schools. With regard to Conservatoires, a number of artistic titles are required and these are obtained during a fine career as a concert artist, which can guarantee the longed for qualifications. Secondary Music Schools are doubtless a good outlet - they assure financial independence and offer the young artist the opportunity to teach his instrument while looking forward to becoming a Professor in a Conservatoire. But let us not delude ourselves. It is not easy to enter the lists and when one succeeds in getting into these long lists, it is not said that he will be called. A similar situation can be found in Secondary Schools - they offer a good solution to the economical problem but do not fulfil the young artist’s musical ambitions, as he cannot teach his instrument but only the “piccolo”. This is an extreme makeshift solution, which on the other hand solves practical problems. In short matters are certainly not positive. Newly qualified musicians find themselves having to cope with a thousand problems and bureaucratic adventures, leaving their love for music in the background. The people interviewed were: Alfredo Perdetti: horn; Claudia Pane: piano and bassoon; and, Daniele Bogni: cello, teacher at the Civico Liceo Musicale, Varese and at the Conservatoire in the Canton of Ticino (t.n.: the Italian District) in Switzerland. To the first question centring on the effective fulfilment of dreams cherished for many years, Perdetti answered: "The decision to study the horn enabled me to start working and find professional fulfilment very soon”. Claudia Pane stated: “No doubt the time I qualified (’85-’86, considering I have two diplomas) was marked by the greatest number of students (and hence of qualified musicians) in the Conservatoire. My dreams have been fulfilled because I like teaching and chamber musicThe piano and the basson fit in well in these fields.Daniele Bogni's: "When I completed my studies in the Milan Conservatoire (under Master Antonio pocaterra's supervision), my ambition was to study, as the Italian syllabus for the diploma in cello performances is really absurd. With hindsight I see myself newly qualified and full of unwavering hopes, looking for a teacher and a good instrument - a topic which would deserve to be enlarged on in a world full of all types of courses and training spells in Europe (the latter probably did not exist at the time), which could have been helpful to gain experience but did not give the necessary continuity to produce the results that only a long teacher-pupil relationship can ensure”.The second question centred on musical competitions. Claudia Pane precisely defined competition in history saying: “Musical competitions have been known since ancient times (the myths of Apollo and Dionysus or of the Muses and the 12 princesses are proof of this) and have reached us together with ancient and modern myths (it may suffice to recall the “challenge” between Clementi and Mozart). Alfredo Pedretti said: “Competition is a natural part of the musical world - it may suffice to recall that in order to play in an orchestra one has to “compete with” other musicians in a competitive examination; and, to “maintain” a post, one has to keep proving that he is better than others.It is negative the competition between teachers, which often involves innocent students". Daniele Bogni : "My generation’s musician finds himself facing the fact that he is always waiting for something to happen, but that something never happens and the years go by without great changes in things. Competition is important in our profession , which, if well organized, gives great freedom and satisfaction. In our field, only a very small percentage has a large income and often they themselves become slaves to all that is around their job .But our job’s real wealth lies in the satisfaction to see that you make someone happy (a listener in the audience or a student at school) with your work as a performer or teacher - this is a priceless feeling. To the question on the situation of Italian orchestras the answers stress on a certain unease due to the closing down of historical institutions which, besides culturally enriching the population and especially the young audience, who could even be lead to take up musical studies, drawn by a fascinating world, they gave newly qualified artists the opportunity to find a satisfying job, which at the same time offered great professional improvement. Pane’s answer was meaningful: “If by ‘orchestras’ we mean the institutional ones, many are closing down or however the competitive examinations are extremely rare. But there is a tendency to improve, considering the famous competitiveness. Nevertheless there is at times the risk to aim at the event (the ‘opening night” of a certain opera, the performance of a great director or soloist…) rather than to constantly offer proposals related to the Italian musical scene”. Perdetti repeated: “Unfortunately in Italy culture is not appreciated as it could be and subsequently many orchestral bodies (among those left) suffer from this situation”. Bogni entered into greater detail by highlighting an aspect that has, for years, greatly damaged cultural growth in a country of long-standing musical traditions: “The closure of the RAI orchestra in Milan, Rome and Naples really embittered me. I was aware of the situation in Milan; I believe this orchestra gave almost all the musicians of my generation who had the opportunity to work in it, a great human and musical contribution - it was our “school ship” where we lived in contact with the great musical world in an almost “familiar” and student-like spirit (those who experienced it know what I mean). Its disbandment has been an incalculable loss for music in Milan, also because I see no orchestras in Milan that can offer the “service” the RAI orchestra gave us (an excellent work environment, meeting older colleagues…) and newly qualified young musicians too, who now seem only “material” to be exploited by “training contracts” or “similar stuff”. Job opportunities have been reduced with the closing down of many orchestras, creating great problems both financial and career-wise for musicians who find no professional outlet and Pedretti answered: “There is room for many, but not for everyone; those who face the profession today certainly find it hard to find their place. With regard to wind instruments… thanks to the constant evolution both technical and of materials, combined with brand competition, one can find high quality instruments in the market”. Pane stressed: ”Our generation has slightly ‘saturated’ the market. On the other hand, Conservatoires keep counting less enrolments, both due to the famous ‘drop’ in the birth-rate and because certain instruments are little “publicized” and this results in the organization, in music schools, of fewer lessons on the very instruments that are most needed in orchestras. For example, it is easier for certain instruments to enter the teaching profession because they are more “in demand”. For others, it is almost impossible to enter an orchestra (the harp and the guitar, for example)”. Bogni described the psychological aspect of musicians : “I am far from being a ‘successful’ musician (I believe that after all nobody can define himself as such considering that, luckily for us, there is always room for improvement, at all levels) and I lead a comfortable life as part of my job is performed abroad, in a country (Switzerland) where a music teacher’s financial dignity is more recognized than at home. Concerning the future of music Perdetti said: “The recent reform concerning Conservatoires has created a great flurry, which can lead to something positive. I certainly advice everyone to study music, as long it never becomes a “job”, but always remains the most beautiful and complete art we have to express ourselves”. Pane : “It is essential to study music, even at a non-professional level, to build (o rebuild) a stronger individual and Italian musical awareness because the study of music involves commitment to overcome difficulties but also satisfaction when these are overcome. Young qualified musicians find themselves in an environment that is totally different to what it was twenty years ago and they have to adapt themselves to a “migratory” job, moving from orchestra to orchestra, and from one city to another. The situation has been slowly taking a positive turn of late. Certain roles which, though not strictly instrumental, are indispensable in the musical world, such as sound technicians or proofreaders of musical scores, could be additional outlets for those who study music and hence must be better explained”. Bogni concluded: “No doubt employment prospects are not too bright, but I believe it is the nicest job in the world - to be an instrument and an interpreter, creating sounds and sensations that great musicians of times gone by experienced before us, aware that we too can have a taste of what they experienced and thanks to our art, we can make others experience it too. This is all a great sign of universal fraternity; music is the vehicle of all sensations for everyone”. Having heard these interesting accounts, all we can do is say… ‘Enjoy your work!!’

Translated by Interpres sas