Klarinet Archive - Posting 000278.txt from 1999/11

From: Tony@-----.uk (Tony Pay)
Subj: RE: [kl] More about 'that' audition
Date: Mon, 8 Nov 1999 18:49:52 -0500

I particularly like the tagline my software has added this time;-)

First of all, the answer to what happened to the player is that he was
indeed excluded from the next round. I tried to argue with this
decision -- and on the whole, I still stand by what I thought at the
time -- but there was a union representative who said that we had to
follow the protocol, regardless. She refused even to discuss the
matter, though all the musicians involved continued to debate what it
would have been right to do, back and forth, over the whole afternoon.

So number 14 had to go back to his job in the knowledge that everyone
knew he'd been thrown out straight away in the first round.

By the way, I do have to underline that *I* didn't know that the man was
doing the job well; this was just what I was told. Perhaps I would have
hated what he did in the orchestra. It's very likely, though, that the
player we eventually selected was better.

Another thing, relating to what Karl and Jay said, is that it was also
part of the protocol that an audition had to be held, and that the man
had to take part in the full audition if he wanted the job. Anne,
whether they've now changed that, I don't know. I was an outsider, and
haven't heard the orchestra in question for many years.

The other interesting thing is that although I said that the player we
eventually selected turned out to be very good, that wasn't especially
evident from how he played the Mozart -- hence my mentioning the
advantages and disadvantages of setting the Mozart when I was talking
about this audition in the first place. Indeed, all the candidates
played the Mozart really quite badly, and after the first round, we were
worried that there would be *no-one* good enough for the job.

So the eventual winner didn't stick out in any way at that stage -- we
might even have eliminated him, if we'd been unlucky. His qualities
only appeared when we got him to play the Miraculous Mandarin, and
things like that, and when we heard how he took directions when we asked
him to play things differently.

I know this sounds almost impossible, but it's nevertheless true.

BTW, I do think that Walter's suggestion (the chamber music one) is very
good.

Anyway.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

... What do you do when you see an endangered animal eating an endangered plant?

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