Klarinet Archive - Posting 000293.txt from 1999/11

From: "Daniel A. Paprocki" <danbascl@-----.com>
Subj: Re: [kl] More about 'that' audition
Date: Mon, 8 Nov 1999 20:58:10 -0500

Using the Mozart concert for orchestral auditions is fine. The two main
things that eliminate most people from the 1st round are bad intonation and
rhythm (this could also be holding a steady tempo). Musical performance
(not that it isn't important in the 1st round) doesn't come into play until
after the 1st round. I don't think I've seen an audition list that hasn't
had the Mozart as the solo. The list that I hate (this happened in Grand
Rapids) is where no solo is specified. You can play any solo work (Copland,
Mozart, Weber, Nielsen, etc).
It also depends what type of audition it is. A committee will listen to
how well the clarinetist will match the 1st if it is an audition for a 2nd
clarinet. Also if an audition is for bass or Eb I feel that that instrument
should be played on the first round with the regular clarinet. I've done
auditions where you fly in with your bass and clarinets only to not play the
bass in the first round. If the position is mainly bass why not hear that
instrument.

Dan

----------
>From: Tony@-----.uk (Tony Pay)
>To: klarinet@-----.org
>Subject: Re: [kl] More about 'that' audition
>Date: Mon, Nov 8, 1999, 2:53 PM
>

> On Sun, 07 Nov 1999 22:24:00 +0100, notestaff@-----.de said:
>
>> Why not start off the first round with long tones (cresc., dim. and
>> keep your pitch!), scales (three octaves, returning, in thirds,
>> whatever...) chords, maybe some Kroepsch. The next round could be
>> orchestral exerpts. The third round maybe Mozart or maybe better more
>> exerpts. There are a lot of them and they can be very different in
>> character.
>
>> So my suggestion would be: round 1) scales, etc.; round 2)
>> orch. exerpts: round 3) more exerpts.
>
> There are sometimes special pieces written for auditions that serve the
> same purpose. Perhaps we should do that more often, sending them out
> to every candidate. Then it would be clear that the candidate had to do
> what was written -- which might also include expression marks, like
> 'giocoso', 'tristamente' and so on.
>
> It can sometimes be the case that someone plays a well-known piece much
> worse than an explicitly written unknown one. I remember hearing an
> execrable performance of the Schumann Fantasiestucke by the 'cellist
> Natalia Gutman, who then went on to give a wonderful version of the
> Britten sonata.
>
> I'm convinced that what she thought she had to do with the Schumann was
> to 'change' it, whereas what she thought she had to do with the Britten
> was to 'play' it.
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
> ... Reality is for people who can't handle Star Trek.
>
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