The word networking makes most musicians cringe. It sounds transactional and fake, which is the opposite of what actually works. The players who come out of Aspen or Tanglewood with sub list calls are not the ones who shoved business cards at every conductor. They are the ones who became genuinely useful to the people around them.<\/p>\n\n\n\n
The fastest way to build a reputation at a festival is to know your part cold in the first rehearsal. Stand partners talk. Section leaders talk. The intern running the library talks. If you are the person who plays the Shostakovich 5 finale clean at the first downbeat, people remember your face.<\/p>\n\n\n\n
When you meet a principal player you admire, do not ask for a lesson or a recommendation. Ask them about their reed setup, their bow arm philosophy, the Sibelius excerpt that took them three years to learn. Curiosity is flattering. Asking for things is draining.<\/p>\n\n\n\n
Offer to run someone’s audition excerpts with them. Bring a spare pencil to sectional rehearsal. Cover someone’s cat sitting for a weekend. Small favors compound into real relationships and real relationships turn into real calls later.<\/p>\n\n\n\n
After the festival ends, send a short email to the three or four people you actually connected with. Not a template. Something specific you talked about. Then follow up once every six months with something genuinely relevant. I still get sub calls from people I met at festivals eight years ago because I stayed in light, unintrusive contact.<\/p>\n\n\n\n
Nobody keeps business cards. They keep phone numbers, Instagram handles, and the memory of a good conversation. If you want to exchange info, do it on your phone in thirty seconds and move on.<\/p>\n\n\n\n
Networking in classical music is not about selling yourself. It is about being someone other people want to work with, and then letting enough people know you exist.<\/p>\n\n\n\n
Join 31,000+ string players leveling up their orchestral career.<\/p>\nGet the Free Guide<\/a>\n<\/div>\n\n\n\n Ethan Kim is the founder of Orchestra Kingdom<\/a>, helping string players win auditions and move up in their sections. Follow him on Instagram<\/a>, TikTok<\/a>, and YouTube<\/a> for daily tips.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Festivals are the best networking opportunity in classical music. Here’s how to work them without feeling gross.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-340","post","type-post","status-publish","format-standard","hentry","category-career-development"],"_links":{"self":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/340","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=340"}],"version-history":[{"count":1,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/340\/revisions"}],"predecessor-version":[{"id":374,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/340\/revisions\/374"}],"wp:attachment":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}