Feature -- by Mark Sproxton

Armed with an abundance of talent, the violist concentrates intently on playing the music exactly how it has been rehearsed. Like the other musicians in the philharmonic, she must put her own musical aspirations aside and stick to the program.

"You have to be creative, on the other hand, you play in the orchestra and have to fit in," explains Katherine Grigoriu, a long-time viola player with the Calgary Philharmonic Orchestra (CPO). "It's like an army. You have to do what you are told. You can't be individualistic. You don't want somebody who is too (showy) or somebody who sticks out no matter how good."

Even with those tight boundaries, the 24-year veteran of the CPO said there are many opportunities for great things to happen on stage. "It's exhilarating if you have a good conductor and you like the piece," Grigoriu said. "But as somebody said, it's not always fireworks."

Working as a professional musician, as in any career, comes with its highs and lows. "It's exciting," Grigoriu said of playing with such high calibre musicians. "You get to do interesting things with interesting people and it's not like you can get in a routine. You don't always work nine to five. But the big thing is the uncertainty, and it's not well paid."

CPO musicians are members of the Calgary Musicians Association (CMA) and are guaranteed a set amount of money for the length of their seasonal contract. The CMA is a branch of the American Federation of Musicians of the United States and Canada. After two years with the orchestra, musicians earn tenure and keep their positions as long as they continue to play well and funding for the orchestra continues.

The fluctuations of the musical world come as no surprise to the violist. Growing up in Romania with a mother who was a musician, a prestigious position in society, Grigoriu saw what the life was like first hand. And she liked it. Starting on the violin, she was soon turned off by its high-pitch and switched to the larger and lower-pitched viola. From there she continued to study music until completing her post-secondary studies, also in music.

Her studies and talent brought her to an audition for the CPO where she has been since 1977. When the orchestra is in-season, typically running September to June, Grigoriu and the other musicians average eight performances or rehearsals each week. If there are difficult pieces, there may be more rehearsals. "Our rehearsals average two-and-a-half hours," she said. "We all rehearse together, but you don't learn at the rehearsal, you learn it at home. The rehearsal is the time to put it all together."

On the days of a concert, there is typically a dress rehearsal in the morning and then the musicians retreat home to practice on their own before the evening's performance. Even though she's been a professional for years, the butterflies in the stomach still appear before, and during a concert. "You have moments when you get nervous, especially when it's something hard," Grigoriu said.

In the off-season, the musicians are essentially left to fend for themselves. Many turn to teaching music lessons, which they may also do during the concert season. "With the philharmonic you at least have a steady flow (of cash) during the year," the part-time music instructor said. "In the off-season we don't work and you have to look for something else."

That brings about a reality of life for most professional musicians. It is an expensive career and the monetary returns aren't huge. In addition to paying for your own way to attend an audition for an orchestra, musicians must also purchase their own instruments and pay for the maintenance and repair of those instruments. In some cases, those instruments can cost as much as $200,000.

And then there is the scarcity of jobs, depending on the instrument one plays. "With strings it's probably a bit better because they need more of them," Grigoriu said. "If you play the trumpet it could be you're in a city for 20 years and don't get a job." The CPO, for example, has eight viola players, but only two trumpet players.

For those considering life as a professional musician, Grigoriu offers the following advice: "Don't do it unless you love it. Try to be the best because the competition is very tough. Don't do it for money, because it's not there."