Klarinet Archive - Posting 000214.txt from 2002/11

From: "William Semple" <wsemple@-----.com>
Subj: Re: [kl] Questionnaire
Date: Mon, 4 Nov 2002 16:10:51 -0500

My answers. I have been involved with the clarinet for forty years, and
served on the staffs of the Chicago Symphony Orchestra and the National
Symphony Orchestra. I was also President of the Board of the Washington Bach
Consort. I have auditioned in the past for less entities, but most of my
answers are based on general knowledge and my association with dozens of
professional musicians over the years (including one who for eight years was
a most significant other).

----- Original Message -----
From: "Heather :)" <clarinet99@-----.com>
Subject: [kl] Questionnaire

> In your opinion, what is the single most important "thing" you can do (or
> did) to prepare yourself in becoming a professional musician and/or
> specifically orchestral performer?

Other than practice and study with an accomplished teacher, listen.

> Considering education, what level of degree do you feel is necessary to
> attain in order to begin seriously auditioning and competing for orchestra
> jobs?
> Conservatory or University?

Prima facie, most players in top orchestras appear to have gone to a
conservatory. Conservatories serve as a filter of sorts; it could be argued
that like many credentials, it is not the final test of skill, but this is
the way it seems to work out for those who played in the NSO and CSO, based
on their resumes:
Eastman, Julliard, and the New England Conservatory seem to have been among
the top three (in my day).

> The world of music is often associated with political maneuvering. How
> important is the "who you know" factor?

May have some bearing. All initial auditions are blind,
subject to an orchestra committee before the conductor makes a final
decision. That was the way auditions were held at the NSO at any rate.

I suspect politics are part of any job hiring process. But the players
actually selected seemed to simply have ability: Jane Stewart and Steve
Hendricks are two that joined the orchestra during my time there; I don't
think they had an inside track. Steve as the extra trumpet at the CSO and is
now NSO principal; Jane was a graduate of Yale and went to the Julliard. A
lovely player.

Then there are those rare examples when a player is sought out. There was a
rhubarb when Von Karajan selected an attractive female as the principal
clarinetist: word was it they were having an affair. So in this case, it was
how one knew . . .

But I believe that the selection process is such that the better players
rise to the top.

There was one extraordinary exception where the Michigan Arts Council
demanded that the Detroit Symphony Orchestra employ a black musician, who
turned out to be a bass player selected principally for that reason --
otherwise the DSO would lose their annual stipend of $1.5 million.

The fellow's response, upon winning the job, was that it was a sad day for
music when an Arts Council could dictate who would play in an orchestra. He
said the problem was that the black culture simply did not produce enough
candidates to be consistently competitive for available jobs.

I had a friend named Desi, a black player who plays 2nd fiddle in the NSO
who grew up in Philadelphia. He said he had to dodge home lest his peers
think his violin case was a machine gun.

I hope this is changing, but on balance orchestras are not demographically
representative, especially from the Hispanic and African American
populations.

> There are thousands of players capable of performing in an orchestral
> position, yet there are so few positions available. How do you separate
> yourself from those other fifty players who are auditioning for that one
> spot and convince the judges that you are the right person for the job?

My mentor John Colbert was one of these players. 60 clarinetists would show
up, on average, for various auditions.

There are players who simply audition better than others. The conductor may
be looking for a certain sound. With the NSO, initial selection was done by
an orchestra committee; the final selection by the conductor. No one knew
who was standing behind the screen.

Sometimes it is timing. But mostly, I suspect winners are simply better
prepared and maintain a high level of performance, which is what orchestras
require: so why not display than in an audition?

> Perhaps you have won a position, yet it does not exactly pay the bills.
How
> else do you financially support yourself?

Teach. Play extra gigs. Sell Amway. Marry well. NSO players made extra money
in many ways. Louis Lipnick wrote for The Absolute Sound and gave audio
advice. The percussionist rented out his sailboat. Some played in chamber
groups. Another was a recording engineer, and relied on this for his
retirement. One offered interior design services. Whatever worked, I guess.

> Are there any professional organizations, which you feel are beneficial to
> join? (Ie. ASOL)
> Are there any journals or magazines, which you recommend subscribing to?
> (Ie. The Clarinet)
>
>

Maybe the union, huh? Otherwise, I dunno.

> Get a speedy connection with MSN Broadband. Join now!
> http://resourcecenter.msn.com/access/plans/freeactivation.asp
>
>
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