Quintin Ballarie has been described as a ‘benevolent despot’ with ‘incredible
energy’, ‘absolute devotion’, and ‘fantastic ears for talent’. The role of the musi-
cian–entrepreneur is crucial to understanding Ballardie’s position at the ECO.
With the title of artistic director, he is modest in describing himself: ‘I am basically
a viola player and I suppose a very good fixer. Those are my real skills, and that is
what I enjoy doing’. Ballardie’s role as a player – he was the principal viola of the
London Philharmonic Orchestra between 1963 and 1971 at the same time as prin-
cipal viola of the ECO – means that ‘there is no “them and us” feeling in the ECO: I
am “them”, I am the chap who runs the show, but I am also one of “us”’. It goes
without saying – but needs noting – that the ECO cannot help but reflect some of
the cantankerous entrepreneurial spirit, disposition, and independence of its founder.
Indeed, Ballardie’s strong views on running an orchestra run counter to many
assumptions regarding job security, participatory decision-making, and govern-
ment subsidies.
First, Ballardie is not a conductor. Unlike most chamber orchestras established
and maintained by conductors to further their careers, according to Ballardie, the
ECO does not exist to further his cultural ambitions as a conductor. (The perfor-
mance record of the orchestra also indicates that the orchestra has not been used to
highlight Ballardie as a solo violist.) Yet as an unabashed cultural entrepreneur,
Ballardie takes credit for the overall success of the orchestra, including the
appointment of players. (As part of its status as a full-time orchestra, the ECO has
first call on a specific set of musicians, who are appointed by Ballardie.) ‘A good ear
at picking the talent’, according to Ballardie, is his most important skill. Indeed
Ballardie is ‘old school’, stressing that he has no management background; what he
knows about orchestral management was learned on the job, including skills devel-
oped as a manager of orchestras for theatrical productions in London’s West End.
Second, the players do not have full-time contracts with the ECO, which is to say
that they are self-employed musicians. Whereas in many instances, the hand of the
accountant forces such a decision, Ballardie recognizes the central role of the players:
‘An orchestra is the sum of its musicians, and this applies especially to a small
ensemble of the ECO’s calibre. Many members of the orchestra are distinguished
chamber and concert soloists in their own right’. This implies two things: that the ECO
is an ensemble of possibilities, with the contribution of each player having an impact
on the overall quality of the performance; and that the ECO is confident enough in its
retention capability to support its players – independent of their association with the
orchestra – in developing solo careers and forming small ensembles (such as wood-
wind quintets, trios, and the like). Even though the players are not bound to the ECO
by contract – about thirty are needed for a typical performance – they are willing to
allow the orchestra to have first call on loyalty. The payment of ‘good fees’ provides a
financial incentive; performing with some of the world’s finest musicians and conduc-
tors is also important. (According to Pauline Gilbertson, the ECO’s administrative
director, fees offered by the orchestra are not exceptional – the top end of the BBC
Symphony Orchestra range is £30,000 per annum – but higher than the London
average and well above the promulgated Musicians’ Union rates for engagements.)
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