 The Clarinet BBoard
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Author: Morrigan
Date: 2003-01-23 23:02
OK guys, you helped me BIG-TIME with the last one... Now I need more. Next week I'm auditiong for Melbourne Youth Orchestra...
I've been placed as 1st reserve for three years now. Once, I got called up to play Eb in the Bernstein Symphonic Dances from West Side Story. The soundcheck before the concert, I couldn't attend because I was at a soundcheck for the orchestra I was actually in. They called me up and kicked me out because they thought it 'wasn't good enough' that I couldn't make *ALL* rehearsals. I've never been called back since.
Last year, I was playing in the concert band which is deemed the next step down from the orchestra... And a position became vacant. Being first reserve, I thought they may ask me to step up, but they didn't. They asked a girl who was not on the reserve list.
That said, I get the feeling they hate me, and really don't think I can commit to the orchestra, nor do I think I was given a fair chance in the first place.
My first question is would I be risking it if I told them this in the audition, brought it out into the open and discussed it with them, and let them know that I *am* willing to commit to the orchestra if I get in this year?
Or, what is a great way to leave them with a lasting and positive impression of me?
My second question - there are orchestral excerpts in this audition. They are:
Tchaikovsky; Symphony No.4, Andantino, Allegro Scherzo
Kodaly Zoltan: Dances of Galanta, 31 - 65, 510 - 518, 571 - 580.
Beethoven: Symhpony No.8, Trio.
Mendelssohn: Symphony No. 3 (A minor), first 20 bars or so of Allegro poco adagiato, then Vivace non troppo.
Any general advice on there? I can't say I know them very well. Pieces aren't required.
Again, thanks HEAPS in advance everyone! =]
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Author: Kat
Date: 2003-01-23 23:23
Well, Morrigan, can't help you with the politics. I really have no idea there...
And my advice for the excerpts is to LISTEN to them. WITH THE SCORE. It's good that some of them have specified measures; you never know when you'll be asked to play some obscure (and difficult) tutti or soli passage.
The only two of those I ever worked on in my collegiate career are the Beethoven and the Mendelssohn. Both are really tough. As far as the Mendelssohn is concerned, my (albeit faint, 15 year old) memory is that you need to be aware of what the rest of the orchestra is playing in order to interpret it correctly and with the right "feel." The Beethoven requires (of course) a really nice-sounding and IN TUNE altissimo G. Piano, too! Remember too that in the symphony you'd be playing with the horns...
I believe that knowing what else is going on in the orchestra can help to play (solo) excerpts better. Therefore it is of ULTIMATE importance to know the whole pieces well. Of course, depending on your time limitations, you may need to focus on the specific movements required for your audition.
Hopefully some of the more experienced orchestral players can shed more light on the politics and the other excerpts...
xoxo,
Katrina
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Author: Morrigan
Date: 2003-01-23 23:53
I would love to be able to listen to them with the scores, but, being between colleges, I don't have access to ANY libraries OR scores! So unless there's something I can find on the internet, I'll have to go without...
However, as long as I get them basically correct, i.e. play ALL markings, then I should be fine. The icing on the cake just won't be there.
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Author: Mark Charette
Date: 2003-01-24 00:20
Morrigan wrote:
>
> I would love to be able to listen to them with the
> scores, but, being between colleges, I don't have access to ANY
> libraries OR scores! So unless there's something I can find on
> the internet, I'll have to go without...
You mean you have no public library with any recordings? Heck, when I visited the town of Bunbury in WA some 25 years back they were quick to point out how well stocked their library was ... it was a point of Aussie pride.
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Author: ALOMARvelous12
Date: 2003-01-24 00:50
I have tried the Beethoven. Not exactly a fun piece to play and goes really really high. It's a really easy movement except for that little solo.
Good Luck!
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Author: Morrigan
Date: 2003-01-24 00:59
Mark c
no, no public libraries with scores and cds, as far as I know. i think i need to call my teacher! hes sure to have some!
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Author: dennis
Date: 2003-01-24 01:17
Morrigan.
first. Congratulations on getting to audition.
Politics and music.....hmmmmmmmmm, odd bedfellows but it happens, even in the pro symphony ranks..most especially while one is on tenure and the 'union rep' tries to change your playing style. (that was a real happening).
anywho..
Dances of Galanta : I worked on it with Hadcock and simply suggest you read his book, THE WORKING CLARINETIST, pgs 52 - 57. He addresses it in much detail. It's rewarding, difficult and for the most part, alot of it is solos in the form of cadenzas. When performing it with an orch, you may be asked to stand and take a bow......along with other instrumentalists.
In his book, Peter also addresses in depth, your 3 additional audition pieces.
If you have the time, order it (Van Cott, a Sponsor offers it) or look to borrow a copy.
regards
dennis
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Author: Liquorice
Date: 2003-01-24 06:40
Ken Shaw wrote a wonderful posting on Beethoven 8. Do a search for it.
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Author: TallClarinet
Date: 2003-01-24 07:58
Hey Morrigan,
The VCA Library is open now and I don't think you have to be a student of the college to be able to listen to their cd's. Borrowing is another story, but for listening to the recordings at the library, all you have to do is leave some form of ID at the desk. All of the excerpts that you listed are available on CD, with the exception of the Kodaly, which is on a record. Finding the cd's isn't hard but sitting in the library (which isn't air conditioned) listening is the hard part! Especially in our 40c heat!
I might also draw to your attention to a site that has online copies of scores : http://www.dlib.indiana.edu/variations/scores/
This site is a fantastic resource for studying scores but is still in it's infancy and is growing all the time. The Beethoven and Tchaikovsky scores are there but the others are not.
With regards to worrying about wether MYM hates you or not, you needn't worry! I don't think anyone has sinned more than me whilst playing in that organisation. (you know what I mean!) And I'm sure they don't hate me as I have been asked to play under the same conductor since then.
Just perform at your best and if they have any issues politically, they will surely ask you about your commitment to the group. Goodluck, I hope it all goes well!
TallClarinet
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Author: nzdonald
Date: 2003-01-24 11:29
(woops, after writing all this, just re-read all the above, "easy mvt EXCEPT for the little solo" i remembered as "easy mvt" when writing the post below, but now realise that no one called the solo easy... i'll leave the post as is though)
Beethoven 8 an easy excerpt? well, it's not the hardest, but there's a reason that almost every professional orchestral audition i've done has asked for this piece. It is very revealing of your "mid range" articulation, intonation (all those Bs and Gs need to be the same in an audition) and small tempo changes. Make sure that the "eight- triplet sixteenths" (quaver, triplet semiquaver) beats are correctly subdivided. I have heard many players start the semiquaver triplet too soon, (others start it too late and then play the triplet too fast).
if an excerpt looks "easy" then assume that anyone listening will be very picky about small details. You should expect this of any piece on an orchestral audition, but don't let yourself "not expect it" on one that looks "easy".
by the way, i don't think i've yet heard an orchestra allow the clarinetist to sound "dolce" on this, it usually sounds like the clarinetist is fighting to be heard (play "dolce" in an audition i guess)... plus i've heard the last note squeak more than once, even though the player might have done it a million times at home- in the orchestra (playing out/big room) the intonation/feel of the last note is a bit different and the player may discover that they need to actually push the note up just a little more than they expected.... One player i heard was on trial for a principal clarinet job, and this squeak was noted as the reason for not getting the job (by string players).
oh well
donald
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