John G. Deacon wrote:

>>And so, today, the Financial Times takes up the discussion!
>>
>>Of course, Mortier has been forced into uncomfortable compromises.  ...
>>Although his relations with the Vienna Philharmonic have greatly improved,
>>he has failed to eradicate the deputy system, which allows the orchestra
>>to use different personnel for rehearsal and performance; this has led
>>Simon Rattle to pull out of a Figaro production planned for 2001.

Walter Meyer wrote:

>Explain to this innocent how the "deputy system, which allows the orchestra
>to use different personnel for rehearsal and performance" works.  Do the
>rehearsers pay very close attention to the conductor and then report back
>to the performers something like "in measure 54, the Maestro wants us to
>slow down, but then as we get to measure 58, we're supposed to speed it up,
>but not too fast"?

I can't answer Walters questions.  But, I do remember reading a few years
ago that Rattle had pulled out of a recording contract because the record
company wanted he to rehearse with one set of performers then use another
set for the recording.

Correct me if I'm wrong here but isn't it that members of the orchestra
are paid a session fee not royalties.  Hence it would be cheaper for a
record company to use substitute rehersal musicians because that would
involve less sessions for the actual orchestra.

Presumably the record company are under the impression that the conductor
is in total control and musicians follow his/her instructions exactly, in
real time, just like driving a car.

Bob Draper
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