Klarinet Archive - Posting 000168.txt from 1996/05

From: "Edwin V. Lacy" <el2@-----.EDU>
Subj: Re: audition pieces
Date: Wed, 8 May 1996 17:04:28 -0400

On Wed, 8 May 1996, Barbara C Johnstone wrote:

> I'm going to be auditioning for the local community/regional orchestra
> in August -- not one of the ones that accepts anyone who wants to play,
> so it's a real audition. If they do it the way they have in the past,
> they'll ask people to bring something of their choice to play (in addition
> to sight-reading). What are some pieces that would be appropriate? Are
> there things that conductors expect to hear?

I have sat on several audition committees for various woodwind
instruments, and what I hear most often played for the selected solo is
the Mozart Concerto, whether the instrument is clarinet, oboe, bassoon or
flute (the D Major one in the last instance). In fact, we have often
_specified_ that the Mozart be the solo selection, rather than leaving it
up to the candidate to choose. Normally, the exposition of the first
movement is all that time will allow the committee to hear, but I would
recommend that you have all of it prepared, just in case. In a later
round, you might be asked to play some of the slow movement, or some
other part.

As a member of an audition committee, you can tell the most about a
player in the shortest amount of time from hearing their performance of
Mozart. You can evaluate their tone quality, intonation, _rhythmic_
sense, and knowledge of conventions regarding artistic performance of
classical-era works in just a few measures.

Above all, avoid works in two categories: avant-garde pieces, and works
obviously designed to show off finger technique. There is nothing wrong
with either of these categories of composition, but the committee doesn't
need to hear your handling of these types of music at an audition.

If you want to impress the committee, don't try to do it by showing off
your fantastic technique, your ability to play fortississimo, or your
control of the most extreme ranges of your instrument. Remember that
there is always the possibility that there is someone on the committee
who can play even faster, louder or higher than you can. Rather, the
committee will be impressed if you can play a standard work with
impecable rhythmic regularity, beauty of sound, solid intonation and
attention to artistic detail.

A large number of candidates who "shoot themselves in the foot" do so by
failing to attach enough importance to their playing of the solo work.
They may regard such a standard work as a Mozart concerto as so familiar
to them that they play it while thinking ahead to the excerpts they will
soon be asked to play.

Well, I just realized that is a lot more information, or opinion, than
you asked for! Good luck!

Ed Lacy
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Dr. Edwin Lacy University of Evansville
Professor of Music 1800 Lincoln Avenue
Evansville, IN 47722
el2@-----.edu (812)479-2754
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