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Author: lmliberson
Date: 2024-07-01 23:43
Mr. Try:
I'm still trying to figure out how one would know what the preferences at the (so-called) audition table (btw, we've always sat in the hall, sans tables) might be since how would one know who exactly would be sitting at said table? Personnel changes occur from year to year and certainly those who may have played on a recording that one was allegedly using for reference, for example, five years ago may no longer be in the orchestra - or even alive. Ergo, it's a fool's errand to try to predict what those behind the screen are listening for.
What people listen for and what people appreciate and prefer is subjective. Sure, the basic fundamentals of pitch and rhythm are non-negotiable. You don't play in tune, you don't play in rhythm, you're gone. Go home.
However, you have anywhere from four to fourteen individuals on a committee, each who have their own ideas as to what constitutes an acceptable candidate. It's not like the committee meets ahead and goes through a laundry list of tonal preference, phrasing, etc. (the only list we look at is the lunch menu!). To me, the "basic rules of human nature" are that we're all different and we often think differently. That's why committees vote - they rarely agree 100%. I may really like the way someone plays yet a colleague may strongly feel that this is the worst playing they've heard all day! There is no "desired interpretation", per se. Sure, there are "wrong" ways to play something - but otherwise there's a whole sea of possibilities. Understand that rigidity - the alleged "company line" - does not always bring out the best in a musician.
Human logic and the laws of probability don't apply to the audition procedure. It's not like taking the LSAT, after all. Most often it boils down to the intangibles - does this particular musician move me, are they doing something special, would I pay to hear this person?
And, to further clarify, I'm speaking of professional major orchestral auditions - not the local community band or anything else, for that matter.
Obviously, your experience (or lack thereof?) differs from mine. But I've been there, on both sides of the curtain. I have the "luxury" of actually knowing what goes on and have known so for the better part of fifty years. Can you say the same?
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Le9669 |
2011-09-02 04:30 |
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brycon |
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Ed Palanker |
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hartt |
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Bob Bernardo |
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Ed Palanker |
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DavidBlumberg |
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nellsonic |
2021-05-24 22:46 |
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Bob Bernardo |
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Dileep Gangolli |
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GBK |
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MarlboroughMan |
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David Niethamer |
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Tom H |
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MarkS |
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rmk54 |
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2E |
2021-05-24 08:24 |
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Tom Piercy |
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ruben |
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Ed |
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nellsonic |
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Ed |
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DavidBlumberg |
2021-05-28 21:51 |
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joe englert |
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SecondTry |
2024-06-26 19:02 |
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kdk |
2024-06-26 19:37 |
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SecondTry |
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kdk |
2024-06-27 02:59 |
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brycon |
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Philip Caron |
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brycon |
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SecondTry |
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Ed Palanker |
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brycon |
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SecondTry |
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brycon |
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SecondTry |
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lmliberson |
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Mark Charette |
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brycon |
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SecondTry |
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lmliberson |
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SecondTry |
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donald |
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lmliberson |
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donald |
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SecondTry |
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SecondTry |
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lmliberson |
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brycon |
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lmliberson |
2024-07-01 20:01 |
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SecondTry |
2024-07-01 20:18 |
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brycon |
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SecondTry |
2024-07-01 22:55 |
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lmliberson |
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Philip Caron |
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brycon |
2024-07-01 23:32 |
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Re: Russianoff's students new |
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lmliberson |
2024-07-01 23:43 |
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SecondTry |
2024-07-01 23:56 |
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lmliberson |
2024-07-02 16:49 |
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SecondTry |
2024-07-02 18:11 |
The Clarinet BBoard
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