Klarinet Archive - Posting 000491.txt from 2002/06

From: JEDISUSHI@-----.com
Subj: [kl] Philly and the professional world...
Date: Sun, 16 Jun 2002 00:55:20 -0400

In a message dated 6/16/02 12:46:37 AM Eastern Daylight Time,
w7wright@-----.net writes:

> ).
>
>
>
> For those of us on the list who have no contact with the professional
> world --- which means probably 90% of the 800 who read this list --- may
> I ask what this is all about? What's at stake besides a seat in the
> orchestra?
>
> Thank you,
> Bill
>

In Philadelphia, to my knowledge, usually it goes something like this: if you

didn't go to Curtis, then you play just long enough so you can't sue the
orchestra (2 minutes) and you're gone. It's all about Curtis. In some ways
I respect this as a matter of tradition and Curtis as a training ground, but
on the other hand, many people feel very bitterly towards the entire
situation and certainly don't appreciate the way Montonaro/the orchestra can
seem to fix auditions - from the Curtis Institute itself to this very
orchestra seat. There are 3 finalists - one of them was rejected from Curtis

when he auditioned - if one of the other two went to Curtis, my odds are on
that guy. But - each of these finalists is H-U-G-E, so I won't be suprised
no matter what happens. No one ever is with Philly anyway ;-)

Because no one who had auditioned previously for this job could audition
again, something tells me we'll get a final, permanent winner this time,
especially considering the generous invites (i.e. getting buys at the
audition) that I've heard about...hold on to your hats!

Mike

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