Klarinet Archive - Posting 000286.txt from 2002/01

From: "Robert" <LetsReason@-----.com>
Subj: [kl] The "Report" from the Marine Band Audition
Date: Fri, 11 Jan 2002 17:15:39 -0500

I did not make it to the second round. I do believe that I "almost" made
it, but I completely understand why the "thank you" came when it did. The
assigned person, a rather attractive woman, told you what to start with (the
Mozart, 1st mvt, exposition) and that you would then move to excerpts. I
think the Mozart went well, considering I had not touched my A clarinet
until I got there and found that everyone else was playing it on the A.
After I had changed my clarinets, the assistant pointed to the first
excerpt. The first excerpt (and I believe this was the same for everyone)
was the Lincolnshire Posy (4th mvt) which I was very pleased with it until
the articulated 16th-note passage at measure 14. For some reason, after my
breath, when I started the staccato, mezzo-piano notes I misplaced my
embouchure or something. I really don't know what happened, but they did
not come out with the same tone everything else did. Kick in the ADD
focusing on the irregularity and the sextuplets to follow were there...but
sloppy (uneven and lacking much rhythmic integrity in the placement of
emphasis on the root notes). I thought I would get the "Thank you" after I
played the last note of that excerpt, but they graciously allowed me to
continue. The assistant thought I would be dismissed too apparently as she
paused, looking at the divider for the response. It did not come and she
pointed to the next excerpt. The Mendelssohn "A Midsummer Night's Dream"
went well. The notes were there and a clear staccato at all dynamics and
octaves. I was pleased with that. There was a pause and as the assistant
began to show me the next excerpt came the dreaded "Thank you".

My take on the situation? After listening to everyone from about #10 on (I
was #24 out of 25), no-one was making any clear effort to differentiate the
specifically marked articulations in the Lincolnshire Posy. On the other
hand, I had made a special effort to differentiate between the 4 different
articulations written into the first 14 measures. I am only guessing, but I
think that this may have made them think twice about the sloppiness of the
sextuplets. After the Mendelssohn went well, they may, and I am only
guessing again, have discussed allowing me to continue on but decided that
the others who had been chosen before I played were sufficient for the
second-round that they did not have any need to "push me through". This may
be why I "almost" got to play the Weber excerpt.

In any case, I did not make it to the second round. The other players there
were very competent and of various ages. There was one particular player
that brought back some rather sorrowful memories for me though. Number 19.
My, oh my. The tone was not my "style" but was professional in any case.
Very fluid and even throughout all registers. The main thing is combining
that with the feeling of oodles of technique. You got the sense that this
guy could play anything effortlessly. I want to exude that feeling in my
sound but have yet to find the cajones to put in the time and effort needed.
I salute #19 for the work he has done to get there. Excellent player.

Oh yeah...why the sorrowful memories? When I went to Cleveland Institute to
audition for Franklin Cohen and the Cleveland Symphony clarinet section
(they are the faculty there), I had to stand outside his office (the
audition room) waiting and watching as they all stood up and gathered around
this young 1st Prize winner from the Paris Conservatory who was auditioning
before me. Yes...he was amazing and there was only one spot open. He was
amazing in the same way number 19 was. He got the spot. I sat there and
watched them pat him on the back, PLAY HIS HORN, etc while my slot was
pushed back almost 10 mins. I remember them asking if he knew the Daphnes
and Chloe excerpt and he whipped them out with the ease of water pouring out
of a wide-mouth jug. Sick. ;-)

I cannot say that I am not feeling down, I did and I am. But I am not
angry, upset or bitter or anything like that. They were kind to let me play
the second excerpt. I am, as I was after the Cleveland audition, inspired
to develop that kind of technical mastery of my instrument. So for the next
week or two I will probably practice 5 to 6 hours a day. But this has
happened before and though I did improve, I slowly slumped back into 1 1/2
hours a day like I have been. :-( The one difference this time is that I
am around music. Maybe I can STAY inspired since I have an outlet here.
Who knows. I hope so.

If anyone has any questions, please ask. I enjoyed my audition experience
and look forward to "trying again". I think I WILL make it to the second
round next time. This ass-whuppin I received today will stay in my mind as
I prepare for the next one. There were a number of other good players, but
each had something missing that I think will keep them from the second
rounds at this level audition (today, I did too :-( )

Thanks for everyone's advice and commentary. You all have been very kind
and helpful.

Robert

P.S. I'm curious to know if "#19" did win. If he didn't I would think it
had to be an earlier number.

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