James Clark is currently the Leader of both the Royal Scottish National Orchestra and the Royal Liverpool Philharmonic Orchestra, having previously led the Philharmonia. He talks to JESTA about this most important of orchestral jobs.

Have you always been an orchestral musician?
A lot of my professional life, yes, although I thought I’d be a singer until I was 21. I did a lot of chamber music as well, earlier in my career. I was a member of the Endellion Quartet and the Raphael Ensemble.

Did you ever want to be
a full-time soloist?
No!

How does your role as leader of the orchestra differ from being 'just another violinist'?
I am frequently asked ‘What does a leader do?’. Other than playing the violin, quite a lot, although it is different with every orchestra. During my 30 plus years of leading British orchestras, I have been lucky enough to have had some of the best jobs in the country, all with their own challenges and rewards.
The leader’s main work is to act as a conduit between conductor and orchestra. Each orchestra has its own personality and the leader has to respond accordingly. Challenges could include a conductor on his debut, one who doesn’t speak much English, one with flailing arm beats, dubious musicianship, or one (as happened to me) who turned up expecting to conduct a totally different programme from the one scheduled!
Often, situations arise very quickly, perhaps a player in the orchestra is having difficulty interpreting what the conductor wants during a rehearsal, so if the conductor or orchestra becomes frustrated, the leader will need to step in and help soothe the frayed nerves on both sides. If a conductor has an unhelpful stick technique or is demanding a style that the orchestra doesn’t warm to, a leader will need to steer the orchestra forward by use of his own musical technique or movement of bow and violin.
On the other hand, some of the best and most exciting concerts can happen completely unexpectedly when an enthusiastic conductor displays a clarity of expression and musicianship that means the leader’s job is almost superfluous. Hurray! Then the leader can sit back and enjoy the show too.
Oh, and did I mention that the leader does need to be able to play the violin rather well?

How long did it take you to work your way up the ranks?
I first led a big orchestra in 1977 (Mahler 2 in the Albert Hall) and was leader of Chamber Orchestra of Europe by 1981. I did 4 years learning the graft at the back of the Philharmonia between 1978 and 1981.

How do you find moving from one orchestra to another?
Great!

How do you decide which orchestra you're going to play with in which week?!
A juggling act with several other joint leaders...

How do you find the difference from being attached to one orchestra full time?
It keeps me fresh!

Can you describe a typical working week?
There is no typical working week for me. Last week I spent 6 days in Scotland with 3 concerts and I fitted in a days teaching at the Royal Conservatoire of Scotland (RCS, previously RSAMD) and several meetings with my colleagues (scheduling, politics, problem solving etc...). The previous week was spent on tour with the RLPO.

How many hours do you have to put in to individual practise on top of this?
I’ve always loathed practising but obviously have to do it! It depends on the repertoire. I try and get ahead as much as possible. Last week I did probably about 8 hours practise.
Do you get any spare time?! And if so, what do you do?
Spare?? Never... I just spend as much time as I can with my family when I’m not juggling two and a half jobs.

Any amusing stories you can share?
Plenty but not for public broadcast! I did once wear bright red and white striped socks because I had forgotten my black ones which created some titters in the audience and a telling off from my then orchestral manager.

Any advice for our readers if they want to become an orchestral musician, or even want to work their way to the top like you?
Learn lots of orchestral repertoire and practise
your sight-reading, write a great and truthful CV, play
lots of trial auditions to friends and others, and if
you can, get a couple of consultation lessons with
an orchestral leader.

Essential Facts
ORCHESTRA LEADER/CONCERTMASTER

The role: Play the violin (including lots of solos!), lead the orchestra, work with the conductor closely
The salary: Not fixed; what they’re prepared to pay you
Highs: Great pals and some great music and music-making
Lows: Boring music and music-making
Training: Choir School preferably (extraordinary all-round musical training at a young age), music
college with an A1 teacher, private lessons with respected orchestral player, my leadership course at RCS