Greetings from Costa Rica where I am working with my amigos,
the Trombones de Costa Rica. I am having a wonderful time working with these
great guys. Alejandro, Martin, Leo and Ivan are gentlemen of the first order.
As I launch the new Blog section I want to let you know that
my previous writings will be eventually transferred to this section as well. As
always, thanks for reading.
My inaugural entry deals with a subject that involves nearly
every aspiring performing musician: AUDITIONS. There was a very recent Second
Trombone audition in northern Florida where no winner was selected. According
to the rumor mill, around 90 candidates auditioned in the prelims. At first
glance, and maybe second glance, it seems ridiculous that this orchestra could
find no candidate, out of 90, that auditioned at a level high enough to be offered
the position. I know several of the players who auditioned and any one of them
would have been excellent choices. I know that-high level players can have an
off day, but I have difficulty accepting every one of them did and that no one
was qualified to be a member of this orchestra. They chose no winner.
Why?
My guess?
Fear.
Fear of commitment.
Fear of hiring the wrong person. Fear of having to actually
use the tenure process. More and more, orchestras want to be ABSOLUTELY certain
before they offer the contract. 20 years ago, it was rare that no one was
chosen at an audition. It occasionally happened, but not nearly as often as
present day…and there are a higher number of better players now than ever!
Maybe that is the problem…there are so many good players that one doesn’t stand
out like the old days. I just don’t get it. What are the audition committees
thinking? How quickly they forget that their audition wasn’t so perfect either,
yet they were given the chance.
This is not the New York Philharmonic…or the Cleveland
Orchestra, another totally confusing institution that after numerous auditions
STILL cannot seem to find anyone good enough to play Principal Trombone. They
have a great player…make that 2 great players there already that could easily
fill the position at a high level. I just don’t get it!
“Maybe there is someone better…”
I remember a Music Director telling his orchestra once, “If
we are always looking for someone better, then we are ALL out of a job.”
+++++ I have been on both sides of the audition screen many
times. I am nearly done auditioning (there are about 3 or 4 orchestra jobs left
that I might audition for). I have taken many, many auditions over the years.
Of the 25-30 auditions I have taken, I was in the finals probably around 8
times and I won 4, the last being the job I held for 10 years in Seattle. I
have lots of experience with auditioning and listening to auditions as well. I
listened to many auditions in Seattle, for brass positions: Principal Horn,
Second Horn, Third Horn, Principal Tuba, Principal Trumpet and was invited by
my colleagues and Music Director to listen to auditions for Second Trombone,
the job I was vacating. I also sat on a violin committee. I learned a great
deal about the audition process from the committee’s point of view. I want to
share my thoughts from each side of the screen.
From the View of the Player:
When a player deides to take an audition it is a committment
of all sorts of resources. We have the financial expense of lessons,
instruments, recordings, practice aids, travel, lodging, meals. We have the
personal expenditure of hours upon hours of solitude, study and practice. We
have the emotional expense of putting ourselves on the line, knowing that
rejection looms. When we submit our materials to our prospective orchestra we
hope for timely responses, information about transportation/lodging and a clear
audition list. When we arrive, we want to encounter friendly people and a well
run audition. We want ample space for warm up, preferrab;ly not one big room.
We want access to food. We want the committee to stay on time. We want to
audition in the same room that we will perform in. We do not want split
committees. Often, we want comments about our actual audition. Perhaps that
will help us learn what can we do to improve so that we will do better at the
next audition…or so we hope
An aside:
As an auditionee, I have often wondered several things:
Why is there often sight reading on the audition list? After
all, most orchestras never sight read. In fact most have a contractual clause
defining how far ahead of the first rehearsal the music will be available.
Why is rhythmic pulse in Bolero so important? In rehearsal
and performance, there is a conductor, snare drum and string pizzicato to keep
the player on track. Doesn’t great sound, intonation and style account for
anything? Any fool can tap their pencil behind the screen and get detect slight
rhythmic inaccuracies. It actually takes thought and knowledge to evaluate
sound, intonation and style.
Why isn’t the Rhenish on every Principal Trombone audition?
Most every orchestra will play Schumann 3 at some point.
Why do smaller orchestras include the Berg 3 Pieces in their
auditions? Often, I want to ask them the last time the orchestra performed the
work (if ever)…and for a recording of the performance.
Why is Tuba Mirum often included on Principal Trombone
auditions? I want to ask if it customary for the Principal to play Tuba Mirum
in their orchestra? If it is merely to test musicality, then how about a
selection from the solo repertoire.
BTW, I do understand why Bolero is on Second Trombone
auditions. I had to play it several times in Seattle.
ok, now the flip side…..
From the View of the Committee:
What audition committee members want to hear is very, very
simple, yet seldom occurs. We will advance someone who plays with a great
sound, with accurate intonation, clear articulation and appropriate style who
demonstrates control of their product while not missing too many notes. Seems
easy right?
Think again.
We have all been in the same situation as the person
auditioning and have been successful. We are looking to add another member to
our club…but there are conditions of membership…as in most clubs. Being able to
demonstrate the above is the condition of membership.
I was always amazed at what I heard at auditions. So many
players could have saved so much money by buying a recording device, a
metronome and a tuner…and of course batteries. As a committee member, I was
ALWAYS pulling for the candidate. I wanted to be WOWED! I always began each
audition hoping to hear the ONE! Seldom did it occur. Mostly we, by agreement
chose to pass along those who were the best at demonstrating the above
characteristics. I only heard one nearly flawless audition…and he won, but then
chose not to accept. Great players can do that.
As a committee member, comments can be a hassle to provide.
Often the auditions are rushed. I would rather listen intently to the person
playing instead of writing a critique. Use a recorder. It hears the same stuff
we hear. If you have done your homework..aka playing for other people…you will
not be surprised at what my comments will be. I asked for comments exactly once
in my audition career. When I read what they had to say, I was so disgusted
that I never asked again. I actually wondered if they were listening to someone
else…and I was a finalist. I probably needed to use the recorder more. In
retrospect, it was a good thing that I did not get that particular job…I might
still be there.
So, in closing, I want to offer encouragement to those on
the “audition trail.” If you want it bad enough, you will do whatever it takes
to get a job, if you don’t, you won’t. It is no reflection on ones character.
Don’t judge yourself by your success at auditions, only use it as a yardstick
to measure your aptitude. If you have taken 5-10 auditions and have not yet
advanced out of the first round then it would seem that something needs to be
examined. Do yourself a favor and examine it…otherwise you will continue to
throw your time and money away going to audition after audition. I also want to
throw a glass of cold water in the faces of audition committees…and music
directors. Get over yourselves. There are many qualified played auditioning for
your orchestras…listen for the good in people’s playing…not just how to dismiss
them.