Working as a classical musician can be daunting at times. With the rise in popularity of newer types of music, many think that looking back on the past is futile. However, classical music has the potential to evolve and relate to current music genres. In the podcast episode “Max Richter on the Meaning of Classical Music Today”, Max Richter discusses with Sean Carroll what the classical world is like (Carroll & Richter, 2024).
The term classical music is often used as a placeholder to refer to mainly instrumental music written by someone in the past (Carroll & Richter, 2024). When analysing how classical music is viewed, Richter (2024) notes that classical music is often seen as a form of history. However, Richter also suggests that the passion and creativity of the people writing and performing the music keeps it very much alive and relevant. This is why portfolio careers are so meaningful and a way for classical musicians to stay essential in the music field and be financially stable while following their passion.
Life as a portfolio musician can consist of many different outlets of work. It can range anywhere from a private music teacher to an orchestral player. Working multiple jobs within the classical field is widely popular and is often chosen by many. Musicians’ Union (2023b) census shows that fifty-three per cent of musicians were required to have a portfolio career due to financial instability. My ideal portfolio career would include private teaching, orchestral work, and session work. Allowing me to stay relevant within the music industry alongside being financially stable.
What are the qualifications needed?
For my specific type of portfolio career, I require a degree in music. This will allow me to be considered for more senior positions in teaching. However, it is not essential; it is most important that you are well-versed in your instrument (AGCAS Editors, 2024). It is also highly advised that you can accompany a fellow musician on the piano, as it demonstrates that the student can perform with an accompanist.
Regarding qualifications needed to become a session musician, you don’t need set qualifications. To be a successful session musician, you need to be well-versed in your instrument and know how performing on stage or recording in a studio works, which comes along with creating an extensive portfolio (Indeed Editorial Team, 2024). It can be pretty hard to start with, as without a portfolio, how are you meant to get work to add onto your portfolio? Formal education can be a good way to become a session musician. Studying music at university is a brilliant way to meet like-minded people and create connections in the music industry. It also allows you to nurture your music learning and gain experience in areas you might not have, i.e. producing (Indeed Editorial Team, 2024).
Qualifications for orchestral work are different and require preparation from an early age. Professional orchestras will require a degree in music and experience in orchestral playing, usually through a youth orchestra (Weidlein, 2024). The type of school you attend can affect your chances of joining an orchestra or even knowing that was an option. A wide range of public schools no longer offer music education, primarily due to funding being cut, which means that music specialists aren’t being hired. Emily Haves (2023) found that fifty per cent of state-funded secondary schools did not receive music education even though it was a legal requirement. Music is seen as just another additional cost for families to pay; this, together with how difficult it is to become a professional musician in an orchestra, creates a significant divide between good musicians and people who can afford to pursue it.
What are the duties and responsibilities of the profession?
Many responsibilities fall upon you when working in an orchestra, regardless of the seat you sit in. However, these responsibilities can look different for each person; the role that you take changes depending on what your duty is for your section. Being a principal means that you are in charge of how your parts are played; it’s your duty to guide and instruct your section, not the conductor. You need to be widely knowledgeable about the music and confident in advising players who may be senior to you. However, this doesn’t mean that the second seat is any less important; it is usually used for harmonic reasons and as a support for the first (Goss, 2019). It is also the responsibility of the entire orchestra to remain professional, including showing up on time to rehearsals and having your music prepared. Payment and timings are very strict, as you are only allowed to play for a certain amount of time; unions decide upon this and are in place so musicians are not taken advantage of.
The duties of a private music teacher are very similar to any teaching job. Preparing individual lesson plans for each student whilst also incorporating general knowledge of the music world. Providing feedback to the students is also imperative as this will enable them to be better musicians and help prepare them for future endeavours such as examinations (AGCAS Editors, 2024).
Your responsibilities as a session musician are similar to those of an orchestral player as they often overlap, especially as a classical session musician. Preparing and practising your work to perfection is essential as recording fees are costly (Glasson, 2024). This is also why many session musicians now have a recording set up at home, something often required now as it saves the employer time and money. This means you must also have some knowledge of recording and sound design.
What are the main financial and legal issues?
Private teaching is one of the primary duties in my idea of my portfolio career. It is a great way to make money while remaining in the music world and having enough time to explore different ventures. However, since Covid-19, many funding cuts have been made in music education (Hughes, 2023). Talking to music teachers who work in schools, it becomes apparent that the current landscape of music learning is declining, especially in specific instruments. Instruments such as piano and singing have skyrocketed due to platforms such as “Simply Piano” launching, which give the illusion that music learning is quick and easy even though it takes years to master. These kinds of apps are seen as a replacement for private lessons. However, they do not provide the same level of teaching even though they may seem appealing due to the lower cost.
Some legal issues can arise when having a portfolio career, especially when performing is an aspect of the job. Being a session musician comes with many legal and financial considerations. PPL performer revenue is when the performer gets paid when the music is played publicly or on the radio (Musicians’ Union, 2024b). However, this is not a significant amount. But it’s not the usual agreement; session musicians typically get paid a flat rate through a Work for Hire Agreement. This is because session musicians don’t tend to own any copyright of the work. A standard Classical recording fee is £77.50 as a tutti player (Musicians’ Union, 2023a). This again changes depending on what style you are recording for and if the musician is a part of a union, as sometimes they may be entitled to royalties payment if it is a part of the union’s agreement. Agreements may also include residual fees (Indie Music Academy, 2025).
Many orchestral players will have other jobs to supplement income as concerts are spread apart and not a source of reliable income (Musicians’ Union, 2024d). Using Opera North’s agreement as an example, a basic fee for a tutti player for an opera is £84.34. This is for two, three-hour rehearsals, a dress rehearsal of up to 4 hours and a performance of up to three and a half hours long (Musicians’ Union, 2024c). It becomes very apparent this may not be a sufficient wage for someone to survive on; and doesn’t even include the prior self-rehearsal required to be considered. Which is why pursuing a portfolio career is essential if I want to continue my love of playing in an orchestra.
What do the marketing and promotional aspects consist of?
For the private teaching section of my portfolio, I have taken inspiration from James Mainwaring (Mainwaring, 2025).
As you can see, having a sleek and concise website design is vital to remain professional. Having a website to advertise yourself is helpful, as not everyone uses social media
Websites are available that will collect different teachers’ portfolios and advertise them on their well-known websites (MusicTeachers.co.uk, n.d.). This creates a sense of trust between the teacher and employer as a reputable website is backing you. Websites such as Musicteachers.co.uk are great places to advertise yourself as they set out pricing, availability, and qualifications. It is also useful for safeguarding reasons.
Despite this, it is also helpful to have a social media presence as this allows you to remain personable and approachable while still remaining professional. This mainly refers to my other interests in being a session musician. Having contacts and connections as a session musician is vital. This is why the university route is a good idea; having a professional social media account is a great way to advertise yourself and remain easy to find (Sánchez, 2025). This is linked to being an orchestral musician, as the two jobs can often link together. Orchestral jobs are mostly hired from auditions; but, keeping up a relevant portfolio online can help show potential employers your experience.
What are the intellectual and personal challenges?
There is an issue with mental health and having a portfolio career. Due to being self-employed, there is no support for people in these areas (Annis, 2024). It is also an issue of being in control of your work schedule; it is very easy to overwork yourself. This is especially true when you are self employed as you oversee your own work hours, it may also be difficult to turn down work. The challenges you may face are usually very similar between jobs: lack of work and money, fatigue, and no sense of routine. One of the difficulties that many people struggle with is the lack of routine and structure as a portfolio musician; there is no average day-to-day life. This can impact productivity (Annis, 2024). This, along with the idea of financial instability, can be very stressful and difficult to manage, especially as you are self-employed, so benefits such as sick pay aren’t an option.
What career progression can be made?
A concern of many people that have a portfolio career is the uncertainty of career progression. It is not structured like it would be in a company, where there is an ultimate goal you strive towards (Annis, 2024). There are more definitive career prospects in private teaching and orchestral performing industries than in being a session musician. You can work your way up to teaching higher grades and specialising in certain styles of music, or get a seat in a well-known professional orchestra and then progress up the section. Being a session musician however is difficult because there is not always consistent work available; it can be sporadic. My career prospects as a session musician would be to be a dependent and trusted choice in the community and well-known for fulfilling projects.
Overall, having a realistic view of your career prospects is essential, especially in the music industry where it is difficult to find your way. It is also important to mention that it is a complex mix of having to give up on a dream of doing what you love and being aware of how you can be financially stable. Sometimes trying everything is best, as specific jobs you thought you might enjoy don’t always work out to be the best for you. Carroll and Richter (2024) remind us that human beings are multidimensional, so why shouldn’t our jobs change just as we do? We grow and change, as does music.
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