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Klarinet Archive - Posting 001190.txt from 1998/03

From: "line ringuette" <>
Subj: 1997 Baltimore S.O. 2nd clar audition
Date: Wed, 25 Mar 1998 13:45:10 -0500

Hello all,

This post is concerning the informative article by Edward Palanker that
appeared in "The Clarinet" Feb-mar1998. The title of the article is "The
1997 Baltimore S.O. Second Clarinet Audition - a Learning Experience!"

This was a very good article, however I do have a few questions regarding
2nd clarinet positions.

1) Most of the excerpts required were 1st clar. parts. Why? While I
realize that there aren't as many solos for 2nd clar, this particular
audition didn't seem entirely geared for a 2nd player.
2) While I do realize that finding a 2nd player could be a very
labour-intensive process (especially since the best way to find such a
player would be to have them play in the section).... how can the audition
process determine the quality of a 2nd player?

I do realize that auditions are by no means a perfect system for finding
orchestra members, but my questions are important to me because:

I currently play co-principal in a local civic orchestra, and while I do
like playing principal, I am most happy in the 2nd chair! [parts are
rotated regularly in our orchestra] I find it very challenging to follow
both the 1st player and the conductor, and I love playing inner parts.
Over the past year, I have been coming to the realization that I do not
have the desire to be the principal player of an orchestra, and that I am
at my happiest when I am in the 2nd chair. I REALLY like playing 2nd!

So my big question is: how can one "specialize" in being a great 2nd
player? If audition materials are first parts - that certainly doesn't
help, and as the central focus of 2nd playing (according to me) is to
support and highlight the 1st player - how can this come through in an

I would be very interested in everyone's views on the topic. Is there
anyone on this list who feels the same way? If so.... what can you do
about it?

Line Ringuette

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