We receive many enquiries about how much to pay professional musicians. The problem is that in order to avoid price-fixing and an anti-competitive environment, European Union laws now prohibit the setting of any minimum fees – at the same time rendering any previous helpful guidelines from the Incorporated Society of Musicians illegal. This can make for healthy bartering, but on the other hand leaves many groups with a huge problem of neither knowing what is reasonable to pay nor having anywhere ‘official’ to turn.
As professional musicians themselves, and therefore understanding the problems from both sides, former London Development Officers Heather Tomala and Tom Hammond ran a survey for Making Music London's member groups in early 2008 which was then published anonymously to try to give all groups the benchmark they so badly wanted. Sadly we didn't hear from as many as we would have liked, but we did receive figures from 12 choirs / vocal groups and 11 orchestras / instrumental groups.
Even this small sample revealed that the amounts paid to musicians engaged by groups vary hugely, but it has at least started to open up a previously taboo subject amongst groups and musicians alike. These figures in no way suggest amounts of money that we recommend you pay – they are, rather, a factual summary of fees paid by some of our member groups during 2008 (which in any case are now a little out of date, but still provide a useful insight). Some general guidance is provided below.
This is an amended version of an article originally published in London Harmony, September 2008.
How do professional musicians work?
Here is some general advice for groups who engage professional musicians.
- The Musical Director is an incredibly important position. Happy rehearsals mean successful performances, which often means members try harder to sell more tickets and financially the group is more likely to survive, as well as to project a generally positive image in its performances.
- At the same time don’t be in awe of your professionals and do try to engage high quality musicians. Treat them with respect and as part of the team, maybe inviting your MD along to meetings.
- It is a good idea to put all professional musicians on a clear contract to protect both your and their interests – it can be renewed on a rolling basis, but each party should have the option. (Making Music offers a model Musical Director’s contract as one of the series of Information Sheets.)
- Soloists’ fees in particular vary greatly depending on how much they are required to play, and whether they are still a student, fully professional or somewhere in between.
- Most professional musicians are entirely freelance. If they have to cancel an engagement due to illness, they don’t get a penny and nobody pays them to have holidays either. If you have to cancel their engagement, expect to pay a cancellation fee – this will usually increase the closer to the performance date you cancel. (Making Music’s abandonment insurance deal could help you cover any such unforeseen costs.)
- Remember that this is how professional musicians earn their living. On the whole professional musicians’ fees have not increased in line with inflation for many years, nor do they benefit from the same perks as employed people. Making a freelance musician wait excessively for payment is a problem as they are, in effect, a ‘small business’.
- Certain musical instruments require a porterage payment, such as harp, tuba, contra-bassoon, double bass. This is to pay for additional transport and parking costs that, say, a flautist may not incur.
- Be aware of ‘doubling’ fees for certain instruments, such as oboe / cor anglais, violin / viola.
- Certain instruments are considered ‘specialist’ and often musicians charge higher rates, for example Baroque & Rennaisance period instruments, or playing harpsichord continuo from figured bass.
- Going overtime – having engaged musicians for a specific time slot, don’t expect that you can use them for any extra time without further payment or, at the very least, their prior permission.
- Recording a performance for ANY reason may incur an extra fee. If you plan to make a recording you MUST seek the express permission of all professional musicians involved, as well as arranging the relevant copyright payments.
- Travel expenses / late return fees – consider how far musicians may have to travel to perform for you. If they will be returning home after midnight it is only reasonable to pay an extra amount to acknowledge this. For performers, especially soloists, who have travelled a considerable distance, have you thought about providing some refreshments?
- If travel is within London, it is usually far simpler to pay an inclusive fee than get involved in wranglings over what constitutes acceptable expenses, which will also allow you to budget accurately. If a longer distance, agree the train fare or petrol costs in advance.
Our main advice is simply to pay your key musicians (i.e. musical director, accompanist, leader), as much as you can reasonably afford if you wish to keep them. If they have queries, be honest with them and show how the group operates financially and why you have come to the figures you are paying to them.
See the figures resulting from the 2008 survey in the September 2008 issue of London Harmony and scroll to page 9.
The ISM (Incorporated Society of Musicians) conducted a similar survey amongst its members in 2006-7 on fees for concerts and recitals and you can find the survey results here.
