College auditions Vs. Orchestra auditions

SilverTrumpet · Veteran Member Joined: 04 Oct 2002 Posts: 196 Location: MA

as a person who just finished their college auditions I was wondering what the differences are between college and professional orchestra auditions are? Will you know what you're going to play going into a symphony audition or will it pretty much all be a surprise? transposition? screens?
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It's a job that's never started that takes the longest to finish.

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tpetplyr · Posted: Tue Apr 27, 2004 3:17 am Post subject:

From what i have heard, there will be a list of excerpts for you to know, almost all of which will not be written for trumpet in C (which is what i assume you will be playing most of them on). There will be little, if any, sightreading because it is not a necessary or a professional orchestral player, they always have the music well in advance. Plus anyone who can play some of those licks can sightread all the others well enough. I havent actually taken an audition but thats what Ive gathered from this board. It sounds about right to me.

Stuart
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Nonsense Eliminator · Posted: Tue Apr 27, 2004 6:27 am Post subject:

Generally, for professional auditions there will be a list of required excerpts provided to you upon receipt of your application. Usually, a solo is required as well; most likely it will be one or two movements from the Haydn or Hummel concertos, but sometimes other pieces are requested or the selection is left up to the candidate. Sometimes sight-reading will be required. Typically the audition list would stipulate this. The sight-reading is usually orchestral excerpts as well. At some auditions, some or all of the final round may be played with the rest of the section to test your ensemble skills.

trombapaul2 · Posted: Tue Apr 27, 2004 6:44 am Post subject:

For an orchestra audition, you do get a list of excerpts the commitee expects you to
have prepared. You may not play the entire list and usually, you don't find out what's
being called up at prelims until you get there. The recent NY prelims were an exception.
They sent a complete breakdown as to what would be played at each level of the
auditions. Once you get past that, each orchestra might handle the remainder of the
process differently. Some send out relatively short lists. Others want you to prepare
everything known to mankind. As part of the finals process, some orchestras may have
you play with the section on some works. Some may even have you play a weeks
worth of rehearsals and a couple of performances. In the case of NY again, they will
have finalists play with the orchestras brass quintet ("The Principals").

No matter where you go for a professional orchestra audition, the prelims and semi-final rounds are blind. The panel is behind a screen. They want to avoid being influenced in ANY way in their decision so you are not to speak. Again, there is a screen. The path from the stage or room entrance is carpeted to mask the sound of footsteps (certain types of shoes give specific sounds on hard floors that might give away gender). In some cases, you are allowed to blow a few notes in the hall. In most, not.

Every excerpt list I've ever received says "possible sight-reading". Take the term
sight-reading with a grain of salt. All that means is they will have you play material
from the standard orchestral repertoire that you did not prepare ahead of time (was
not on the list).

Some of the requirements and procedures for orchestral auditions might seem a bit
on the ridiculous side but the bottom line for all of it is to eliminate, as best as possible,
the possibility of any prejudice. The panels do not want their decisions influenced by
anything except what they hear from the player.

Paul

P.S. I stand corrected. I just remembered auditioning for a summer music festival
orchestra in the Columbus, Ohio area where there was no panel. You entered a room
to play and it was you, the personnel manager, and the music director and no screen.
That was a little freaky after being used to the other process. Be prepared for any
situation by keeping an open mind and having no expectations beyond how you expect
yourself to play.

[ This Message was edited by: trombapaul2 on 2004-04-27 09:46 ]

bugleboi · Veteran Member Joined: 17 Mar 2004 Posts: 288

trombapaul2......how was you're first orchestral audition?? As a performer, or you able to have a stable teaching job as well?

trombapaul2 · Posted: Fri Apr 30, 2004 5:38 am Post subject:

bugleboi,

I waited until I was 37 to decide what I wanted to do when I grew up. My
first audition was when there was the 4th chair opening in Chicago (why
not start at the top!!). I actually was very relaxed and having a terrific time
playing on the stage at Symphony Center. About 3/4 of the way through the
list, I let my concentration slip and severely botched a section of the Ballerina's
Dance from Petrouchka. I've taken approximately 20 some auditions since
in places like St. Louis, Milwaukee, CSO, NY, Louisville, Richmond, Boston, and
more that I can't recall at the moment. Each has been a wonderful experience,
even if sometimes a huge let-down.

At 45 now, I feel I have a distinct mental advantage going into auditions. I
basically have nothing to lose and everything to gain. I don't teach but I do
have a regular "real" job. I'm not walking out of college looking to get my
first rung on the ladder in the orchestral world. I've come very close to winning
a couple of times so I know I've got it in me. I just haven't let it out at the
right time yet. At the very least, I've had the wonderful opportunity to play
on the stages of some very famous, very cool concert halls.

Paul

_________________
"NEVER practice...ALWAYS perform" (Bud)

"NEVER look at the trombones...it only encourages them" (R. Strauss)

(flutist)"Mr. Dinkle, the trombones are revolting!"
(Mr. Dinkle)"I know but they're the only ones we could get!"

**

[ This Message was edited by: trombapaul2 on 2004-04-30 08:40 ]

SilverTrumpet · Veteran Member Joined: 04 Oct 2002 Posts: 196 Location: MA

Playing in those halls has to be an experience just by itself. must have been fun despite the stress!
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It's a job that's never started that takes the longest to finish.

~J.R.R. Tolkien

shinytrumpet · Veteran Member Joined: 17 Jan 2003 Posts: 151

Now I'm all curious with the lifestyle of a trumpeter who's a father and all. Maybe Paul and a few others could shed some light on this. What is the balance in life (free time to do certain hobbies, spend time with the wife and the kids, practice, eat, etcetera)? Invisioning this, I find it difficult to see how some people can balance that out. I'm keeping all options open once I complete my performance degree, so I'm wondering about the many lifestyles you guys (and gals) have out there.

Matt
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Hartt School of Music '06
BM OrchestralTrumpet Performance
Drexel University '16
MA Music Therapy & Counseling

shinytrumpet · Veteran Member Joined: 17 Jan 2003 Posts: 151

I forgot to mention that I had a funny story for my semester auditions at Hartt. We have about five or so pieces to play to re-audition every semester, and a sight-reading piece. Well I get into the screened room (although there were holes in the screen...not that any of this mattered), played my pieces pretty well, and then comes the sight-reading. For the life of me, I couldn't figure out what the hell this piece was. It sounded like absolutely nothing...none of it made sense. After the auditions my trumpet professor, Jay Lichtmann, turns the music "upside down" and it happened to be the opening section of the Hummel, 1st movement flipped upside down!

Needless to say it wasn't funny at the time, but my audition went well so now it's just humorous.

Matt
_________________
Hartt School of Music '06
BM OrchestralTrumpet Performance
Drexel University '16
MA Music Therapy & Counseling

no_tone · Posted: Fri Apr 30, 2004 8:42 am Post subject:

Shinytrumpet,
In college and the few years right after I had a lot of time to practice. Now 7 years later with a job, wife and an 11 month old baby, practice time is extremely limited. I found out that I had to be WAY more efficient with my practice time. " QUALITY of time" not "QUANTITY of time" is the key.

No matter how busy you are if you really want to, you can always make the time.

-Steve

Nails · Posted: Fri Apr 30, 2004 2:33 pm Post subject:

In college auditions you can make mistakes. Some of my worst auditions were for schools and I still got in with scolarship. Hmmm...

Nathan

Umyoguy · Posted: Sun May 02, 2004 10:58 am Post subject:

The biggest difference between school and professional auditions, at least for me, is the difference of expectation. At professional auditions, there really isn't much room for technical error. I've advanced past first rounds after making a "mistake," but the requirements for musical mastery is way, way beyond what is required for schools. Schools are looking for raw material, pro jobs are looking for the finished product.

It's a rough world out there, but I agree with the notion that the more you can go into an audition with the mindset "I've not nothing to loose," so long as your truly believe it, the better off you'll be.

Jon