Klarinet Archive - Posting 001190.txt from 1998/03
From: "line ringuette" <lringuet@-----.net>
Subj: 1997 Baltimore S.O. 2nd clar audition
Date: Wed, 25 Mar 1998 13:45:10 -0500
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