Klarinet Archive - Posting 001359.txt from 1998/04
From: "reedy" <mwhight@-----.uk>
Subj: Re: auditions
Date: Thu, 23 Apr 1998 19:29:18 -0400
I have not been following all the threads to this topic so please excuse me
if I am repeating other people.
It seems to me that the major issue here is that the chances of the
inexperienced players or experienced but unknown players in obtaining
auditions should be protected.I agree entirely with this principle.However
this somehow implies that there is a "best" clarinettist for a job. Who is
to judge the criteria for such a judgement? The only area that you can make
a score on is technical ability and while this is important it is only a
tool for making music.
Jobs involve a far more complex set of abilities and I would say that
technical ability comes fairly near the bottom of priorities.I have a big
problem with competitive events for this reason.
Out of a list of applicants there will be people with proven track records
and who are perfectly adaquate for a job.There will also be the unknowns. We
draw up two lists. We audition nearly everybody but those with existing jobs
of the right standard are usually given work without audition. A small
number of the unknowns may be offered work of a less important nature and if
they play well the quality of their work is increased. The evaluation of a
player is mainly done within the work place and not at audition.
No procedure is perfect and enevitably those people who are a known quantity
are at an advantage but it is possible to get a job if you are not known-I