Klarinet Archive - Posting 000682.txt from 2003/02

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] "Adapting" for an audition
Date: Sat, 22 Feb 2003 18:06:17 -0500

On Sat, 22 Feb 2003 12:08:57 -0800, leeson0@-----.net said:

> Clarke's point here is very valid for people entering into the
> business community, too. I spent 30 years interviewing potential
> employees, and the last thing I was looking for was someone who
> blended into the existing environment. 90% of those who interviewed
> played the roles of those who did not want to rock the boat, and I was
> looking for a wild goose who would not fly in formation.
>
> Generally the guy whose position was vacated causing the opening for
> which I was interviewing the candidate, left because he was warm
> chicken soup instead of Mexican hot sauce.

The point is, surely, that an orchestra requires someone who can not
only blend into an environment but also stand out from it. Sometimes
chicken soup is required, sometimes hot sauce. Anyone who is entirely
one or the other won't be suitable.

There is no fixed "how I play" for a good player, and no fixed "how the
first clarinet in the orchestra should play" for a good orchestra. It
depends -- must depend -- on the context. Therefore, an audition should
be approached as an opportunity to display excellence in a variety of
respects. If the auditioning body is wise, and I see no reason to
suppose that they will not be, they will choose the audition programme
to give you that opportunity.

Even when you play the exposition of Mozart concerto with a piano, there
are opportunities for you to demonstrate your understanding of the
varying roles that the clarinet takes. Sometimes the solo voice is
brilliant, sometimes thoughtful, sometimes accompanying the piano even
though clearly present. You will impress if you show that you
understand and can do all of these things, in tune, with a good and
flexible sound.

Likewise in your excerpts, be prepared to show that you can play a
simple tune simply and convincingly, and a more flamboyant one with some
dash. You don't want to chicken-soup everything, true, but you don't
want to hot-sauce it all either.

I see no reason why organising your presentation in this way means that
you are not being true to yourself. After all, you will have to respond
to other contextual demands, not your own, if you get the job. So what
that *you* think the beginning of the slow movement of Brahms IV needs
to be eloquent, if the conductor wants it very hushed, as though from
another world? You have to be able to do that too. Show them that you
can, if the opportunity arises.

And do remember that stories about 'one wrong note and you're out' only
live in places like this list -- if you've actually got anything to
offer, that is.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
tel/fax 01865 553339

... Beauty is in the eye of the beer holder....

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