Why We Left Orchestra

Overview

TwoSet (in a parody-style, clickbait “we used to be” intro) explains why they ultimately left professional orchestra life. They open with a joking “sigh”-y apology for the stereotypical YouTuber intro, then reveal they both worked in orchestras for years—first as near full-time musicians and later while freelancing—and eventually made the tough decision to quit.

Main reasons they left

• Time + burnout: Running orchestra work alongside TwoSet became a constant grind. During bus rides and rehearsal breaks, they were editing and scripting, until it started feeling “heavy.” To take TwoSet seriously, they had to choose one, and they chose TwoSet.

• Orchestra didn’t match their creative mindset: They describe orchestras as large systems where musicians often feel like they must do what they’re told, with bureaucracy and less room for “outside the box” creativity.

• Admin vs. musicians tension (a big recurring theme):

  • Musicians feel controlled by administration decisions—like repertoire choices or which conductors get invited—even when the players disagree.
  • They joke about admin scheduling repetitive themed concert streaks (specifically referencing “20 Harry Potter concerts” and getting sick of repeated effects like tremolo).
  • Communication is portrayed as cold or vague: admin “hears” concerns but doesn’t act on them, leaving musicians feeling like they’re told what will happen with no explanation.

Key funny/awkward story highlight

They share examples of awkwardness getting worse when management conflicts with their interests in working with visiting soloists:

• Sometimes orchestra members encouraged them to collaborate with a soloist (who even wanted to talk to them), but admins allegedly blocked or humiliated them publicly for it.
• They recount a particularly suspicious incident where an admin allegedly told them the soloist didn’t want to see them—only for the soloist to say they were expecting to make a video. The conversation became awkward, leading to an “Oh… this clicks now” moment where they realized admin interference was happening (described as “pretty wack” and “sus”).

Bigger reflection: passion vs. becoming mechanical

They also talk about how music-making energy matters:

• In youth orchestras, everyone is energetic, and that fuels passion.
• In some pro orchestras, they fear musicians can become mechanical, and once that “blasé” culture spreads, it creates a tipping point where caring feels awkward—or you end up going along to fit in.

What they think would improve orchestra culture

They discuss ideas to prevent stagnation and protect musicians’ motivation:

• Quality/commitment checks so people keep practicing (with a humorous nod to the idea that some assume they’re safe because they can’t be fired).
• More mutual understanding between admin and musicians so decisions make sense to both sides.
• More variety and experimentation: specialized repertoire, different concert experiences, even playful suggestions like switching 1st/2nd violin roles (they backtrack on viola swapping with a joke), and giving orchestras a “unique personality” rather than rehearsing only toward the next concert.

Closing sentiment

They end by admitting they still miss orchestra playing, calling it a dream job for many: paid to do something they love, perform alongside great soloists, work with inspiring conductors, and learn deeply as musicians.

Notable personalities appearing

• Janine Jansen (mentioned as an orchestral soloist they worked with early on)
• Soloists / orchestral admin and management (discussed generally; no specific additional names given)