Klarinet Archive - Posting 001319.txt from 1998/04

From: Hat NYC 62 <HatNYC62@-----.com>
Subj: auditions
Date: Thu, 23 Apr 1998 19:28:40 -0400

In a message dated 4/23/98 11:49:34 AM, you wrote:

<<I ploughed through
yesterday rang a bell - something about players who can get all the
excerpts right some of the time, and have about an 80% hit rate on THE
Beethoven 8 (?3rd movement) solo. That sounds like about my own standard,
except on very good days, and I would never dream of trying to get into a
professional orchestra in this country - nor would I ever get an audition.
How is it that so many players apparently no better than me can envisage
being pros in the U.S.? Of course, there are far more orchestras than in
the U.K., but nevertheless this seems to be saying something rather
disturbing about American education.>>

Well, there's a little more to it than that, but essentially you have a good
point. This is why Beethoven 8 and the Mendelssohn scherzo inevitably wind up
on the first round of auditions. Between the two of them, they eliminate 80%
of the players right away (that is, if the Mozart Concerto hasn't already done
it).

Getting the last note of B. 8 to come out is important, yes, but the number of
players who don't count the rests properly, play out of tune, fail to get the
d-d slurs to come out nicely + have response problems on notes other than the
high g's is very high (oh yes, and keep a steady tempo throughout this rather
long excerpt too!). In fact, if all the other details are in place (and I mean
perfect), you could probably miss the high g at the end and not be eliminated.
You'd get another crack at it. But you'd better sound damn good and get it the
next time.

Do I have to list the possible problems in the Mendelssohn? I talked to a
committee member who heard clarinet auditions for a decent orchestra, and out
of 70 or so first round candidates, ONE nailed the scherzo on the first try.

As to why schools are putting out clarinetists with performance degrees who
have no understanding of these details. . .I can only guess that is is that
peculiar American obsession with having an enormous symphonic band and needing
warm bodies to fill the clarinet chairs. They are 'tuition fodder' in the
worst and most exploitive sense of the word.