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One of the defining characteristics of working in the Early Music field of Classical Music is the fact that we are essentially (with few exceptions) all freelancers. This has it's advantages such as always needing to be in tip top shape and always having the incentive to play and perform at your peak. However, with these advantages come the usual disadvantages of freelancing, namely insecurity of work and no safety net in case of disaster.
The single greatest reason behind the preference for the freelancing model of work is quite practical. Namely, an Early Music "orchestra" is not a set group of players. It can range from three musicians up to forty. For example, our group 
Obviously, it would be impractical to keep a full group employed if they only play one or two programmes a year. This is in stark contrast to the regular symphonic orchestras of around 80-100 people, of which most of them can expect to be playing at least 90% of the concerts. Thus, for a symphonic orchestra it makes a lot of sense to offer permanent contracts.
However, as the support for the artistic fields waxes and wanes, we can see that the Early Music groups are able to adapt fast to changing financial circumstances with the flexibility of personnel. Meanwhile, we see the larger symphonic orchestras struggling under the weight of their obligations to their players.
Again, this is a double edged sword. Long term contracts breed loyalty and security, however they can also encourage laxness and mediocrity. Successful freelancing requires a certain trust and loyalty from both players and orchestra. As players, we need to trust that the orchestra will be loyal to us and continue asking us for work. In return, the orchestra trusts that we honour our commitments and not run to a more lucrative contract at the drop of a hat.
It is a difficult path for both the employer and the employee, but given the right conditions and the right people it can be a model that brings out the musical best in performances.
Photo CPE Bach recording owned by
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