Major Orchestral Trumpet News

bimmerfreak · Posted: Mon Aug 16, 2004 7:26 am Post subject:

Okay, here it goes... Less than a week ago, MTT appointed the current principal trumpet of the Santa Fe Opera, Bill Williams, to a one year postition as Principal Trumpet of the San Francisco Symphony after a private audition at MTT's summer home in Santa Fe, New Mexico. The Associate Principal Trumpet position with San Francisco has been open and 'unsuccessfully filled' for the past three years, so Glenn Fischthal has permanently stepped down to Associate/3rd and Bill is taking over lead for the upcoming year. Jeff Biancalana (former New World Symphony fellow) has been appointed to a fourth year as 'temporary' second trumpet, having never taken any kind of formal audition for the orchestra (must be nice!!); and Mark Inouye (the tenured second trumpet in the orchestra who had been playing associate after winning that audition a couple of years ago) did not get tenure in the position and was, almost immediately, appointed to a one year position with the Houston Symphony as Principal Trumpet after being invited to come and play a week trial. SFSO told me that they're just too busy to have an audition for second trumpet this year because of all the touring and recording going on, so Jeff will continue to play 2nd trumpet in spite of the fact that he has never advanced at an audition for the SFSO; and at the audition two years ago, the committee qualified another person , Kale Cummings of San Francisco, for a position with the orchestra (in addition to Mark Inouye) and didn't even offer the temporary contract to him!!! This is outrageous indeed!

Ladies and gentlemen, have big orchestras been getting away with so much over the years that they are beginning to simply phase out national auditions entirely in lieu of the GOBN (Good Old Boys Network)? Understand that I mean absolutely no offense or disrespect to any of the players mentioned above (they are ALL tremendous players!), but it sure would be nice to at least get the chance to audition for some of this work, wouldn’t it?? I was under the impression that this was why I am a member of a union.

In general and completely aside from what I've mentioned above, it seems more and more like huge time and money is literally being flushed down the toilet by audition attendees who invest SO MUCH in attending auditions where the outcomes are already predetermined. Many orchestras hold national auditions and end up not taking anybody.... what is that??? Does that mean that nobody is good enough... not even for a one year position?? And if that's not bad enough, virtually none of the committees are even willing to give auditionees their comments so they can at least learn something in exchange for their hard work and expense of attending the audition.

Someone wrote on another topic, "Houston Symphony held their audition at the same time as the MET, therefore the pool of players was compromised".... of course it was!! Because everyone knows that the MET runs, by far, the best and fairest audition in the industry....AND THEY ALWAYS HIRE SOMEONE!!!! I'm surprised anyone went to Houston at all! Sure enough, the outcome in Houston… "Nobody's good enough (not even the former principal trumpet of the Seattle Symphony)... not even for a one year position!!!!!!!!" Give me a break.

I thank my lucky stars everyday that I already have an orchestra job. It’s not a huge $ job, but it’s a principal job in a great orchestra in arguably the most beautiful part of the country. I never, ever take this for granted and I just wonder sometimes.... is it even worth it to continue investing 20% of my annual salary in attending auditions? My friends Josh MacCluer (2nd, St. Louis) and Billy Hunter (MET Principal) have certainly provided me with enough inspiration to not drop off the circuit entirely; but I must say that I will be putting my ear to the ground and listening much more closely before I go mailing out deposit checks and racking up more airfares and hotels on my Chase Visa.

I realize that this is a sensitive and controversial issue, but I think that we are long overdue to have a discussion about it.

Please... share your most sincere thoughts and feelings. I am really interested to know how you all feel about this....

Cheers

[ This Message was edited by: bimmerfreak on 2004-08-16 11:24 ]

[ This Message was edited by: bimmerfreak on 2004-08-16 11:27 ]

Trumpet4Hire · Veteran Member Joined: 05 Aug 2004 Posts: 135

MTV.......I mean MTT better "check himself before he wrecks himself." And some people wonder why the NY Phil and CSO refuse to work with him.

T4H

P.S. Mark's last name is spelled "Inouye."

bimmerfreak · Posted: Mon Aug 16, 2004 8:23 am Post subject:

Thank you for your posting and I apologize for the misspelling.

txtrumpetguy · Posted: Mon Aug 16, 2004 8:53 am Post subject:

You spelled Mark's name correctly twice - T4H, you should doublecheck your spelling critique. Anyway, isn't there some kind of action that can be taken if it is discovered that union orchestras are not appointing members without audition? If not, what stops all orchestras from simply taking someone based on their connections with inside folk? I think this practice is unfair and there should be consequences for orchestras who do it.

Jansu · Posted: Mon Aug 16, 2004 8:54 am Post subject:

I have no experience in orchestral work in the states, or anywhere, but that... sucks... if it is true that auditions are held as facades, only because the orchestras are required to. The people funding the orchestras, or the union(s) should take some action. Depends on how the majority of people already in the top orchestras feel though, and if they even belong to the/a union. It's a difficult problem, because I dont see how it could be 'solved'...

bimmerfreak · Posted: Mon Aug 16, 2004 9:00 am Post subject:

T4H was correct about the misspelling.... I revised and corrected my initial posting.

trombapaul2 · Posted: Mon Aug 16, 2004 10:16 am Post subject:

Let's try to remember the spelling or misspelling of Mark's name is not
the issue or basis of this thread.

As a union musician who tries to take every audition that comes along,
and as a union musician who has left organizations for not opening
auditions to fill openings, this type of action by a MAJOR orchestra
makes me sick. I fully understand time and money constraints but the
system is in place to "guarantee" fairness towards all those players
interested in filling the position. They can have an invite-only audition
but even those, the union should have problems with.

There's no point in blaming MTT. This sort of decision would more than
likely come from a players committee, not one individual who doesn't have
all that much say in how the audition process is determined. They do have
final say as to who gets hired but not how they get to that point of being
hired.

It would be great to hear from folks around here who already have positions
with major orchestras. As someone on the other side of the proverbial fence,
how does the actions taken by the SFSO make you feel and what would you do
differently?

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

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

"What the hell does sound have to do with music?" (Charles Ives)

Irving · Heavyweight Member Joined: 11 Feb 2003 Posts: 1887

First of all, I'd like to say that the best player at the audition should deserve to get the job.

However...

Let's assume that at least SOME of the time, an orchestra already knows who they want. Regardless of whether this person is the best player or not. If they can possibly get away without having an audition, they are actually being fairer than going ahead, having an audition, and then picking the person that they had already decided to pick before the audition.

This way, they are saving hundreds of people time and money by just picking who they want, without having an audition.

Is it fair? Of course not. But it is preferable than having a bogus audition, and either not picking anybody, or picking somebody that had already been selected.

ejaime23 · Posted: Mon Aug 16, 2004 10:49 am Post subject:

There were several players asked to audition for the principal spot with Houston because they showed interest, I went to the concerts where I saw Mark as well as some other guys play, and I must say I'm really glad Mark won the job, he was terrific!! As far as Charlie Butler is concerned, he didn't win the HSO audition, the "last man standing" was Jim Vassalo who is a terrific player, it was fair, but if it's not what they were looking for, than they hire no one, that's how life works.

Mikeytrpt · Posted: Mon Aug 16, 2004 10:52 am Post subject:

Why did Charlie Butler leave Seattle?

mabouav · Posted: Mon Aug 16, 2004 10:53 am Post subject:

Hi bimmerfreak,
Can I ask where you heard about all of this?

bimmerfreak · Posted: Mon Aug 16, 2004 11:08 am Post subject:

I think that a proposed solution to this problem would be for the union to do what we are paying for it to do.... enforce the rules and stick up for the musicians that they represent. It is a FACT that orchestras in the US will hold a national audition knowing full well that nobody will be hired at that audition. They hold the national audition to satisfy the union, then, after not hiring anyone, they will then hold a 'private' audition; inviting only the people whom they would really like to hire.

Please understand, I am NOT AT ALL saying that ANY orchestra that doesn't hire someone at a national audition is guilty of this, because we all know that there ARE some auditions where none of us play well enough to win the job.... this is a fact the we can all own up to. However, what I'm saying is that the right of an orchestra to not hire anyone is often misused/abused by orchestras who participate in the GOBN (Good Ol' Boys Network) and I am calling on the AFM to look into this and fix it so we can all have a fair shot at some great work.

Bottom line, it is plenty difficult enough to get work in this field if rules are followed completely by the book. If someone is appointed to a position in a union orchestra without going through the standard audition process which is designed and governed by the union; that person has been given an unfair advantage, period. If that person ends up playing really well and developing a great rapport with the members of that orchestra... that person will be UNBEATABLE at the eventual national audition (if it ever even ends up being held).

Think about it... if you owned a business and, despite a file cabinet full of resumes from qualified applicants, you decided to appoint someone to a postiion whom you knew would do a really great job. Sure enough, this person totally kicks ass... they are loved by everyone, their numbers are consistently high... they are just working out perfectly. After a year of great work from this person, would you suddenly decide that you want to replace them with someone you don't even know? Of course not!! You would hold onto the person for dear life... maybe even give them a promotion or a raise! And all of this would be completely within your rights, AS LONG AS YOUR BUSINESS WAS NOT UNIONIZED! IF YOU WERE UNION, YOU WOULD HAVE UNBELIEVABLE PROBLEMS ON YOUR HANDS!

I have recently ordered copies of the CBA's for union orchestras whom I suspect are participating in the GOBN through the AFM website (anyone can do this and I highly encourage it). When I receive them, I'm almost positive that I will find a line in each of them that states that "The Music Director shall have the complete authority to appoint whomever to whatever positions he/she feels like"... or something to that effect. I think that this is what causes us to just throw our hands up in the air and continue to be hopeful and optimistic. We just keep spending the time and shelling out the cash necessary to attend every audition that comes up; lining up like lab rats hoping to receive a food pellet.

There has to be something that WE can do.

By the way, my name is Jon Dante. I am beginning my 6th season as Principal Trumpet of the New Mexico Symphony Orchestra. Before I joined the symphony here, I was touring with a brass quintet that I started in 1991 (The Paramount Brass) and not having to deal with this kind of stress. I have been a finalist for Associate Principal Trumpet jobs with the LA Phil, San Francisco Symphony (twice), the Dallas Symphony, and the only other candidate from the semi's to receive votes besides Jim Vassalo to pass on to the final round for the last Principal audition in Houston. I'm only saying this because I just want you to know that I am not some kid right out of college who's bitter that he can't get work. Furthermore, I don't mean any ill-will whatsoever towards anyone or any organization by instigating this passionate discussion.

My ONLY motivation for starting this discussion is the hope that we will ALL ALWAYS get a fair shot at the best symphonic work available in the country.

Thank you all so much for your replies and may the best player ALWAYS win!!!!

PS - Thank you, Ejaime, for your posting. Mark is a fantastic player and I have no doubt that he played great! The fact that he wants out of San Francisco so badly only supports my initial posting and the things I wrote regarding the SFSO.

PSS - Mabouav, I live in Albuquerque, New Mexico and am very close friends with the Santa Fe Opera trumpet section (Bill Williams, Charlie Lea, and Jeff Korak). All of this comes directly from them.

bimmerfreak · Posted: Mon Aug 16, 2004 11:17 am Post subject:

Irving.... I completely agree with your posting!!! I am all for not getting people's hopes up and letting them spend a bunch of money that they don't have getting out to an audition that they don't have a shot at in the first place. However, while I appreciate being spared the emotional and financial expense, and agree that it would indeed be an easy solution; I still feel like it would be surrendering to injustice and that just doesn't feel very good.

Who knows... maybe now that I've started all of this, I may no longer need to be concerned with winning another job!!!

pitchlevel · Posted: Mon Aug 16, 2004 11:19 am Post subject:

i agree this all sounds fishy, but it is the system thats in place, like it or not thats how things go sometimes. if jeff biancalana has been playing for 4 years as a contracted extra, i feel bad for him. he has no job security, no guarantee that when the audition comes up he will win it. i know lots of guys who play great but dont audition well. i can tell you from personal experience that auditioning for a job that you have been doing, and doing well (if he wasn`t playing well he wouldnt have lasted 4 years so far) is even more high pressure than a regular job audition. why? youve got a lot to lose. everyone else may not win, but if you dont win, you lose your job. thats what happened recently in indianapolis. remember music is highly subjective. of course theres plenty of guys who are capable of playing these jobs, but to win an audition requires much much more than just capability. in addition to the basic necessities of preparation on your part, theres luck, the weather, the mood of the committee that day, the traffic on the way to work, if they ate a good breakfast, if they have a cold, if they are preoccupied, etc. you get the picture. its an unfair world. i try to prepare myself so that i may play so well that the committee has no choice but to say yes. that there is no room for doubt on their part. it is an extreme challenge, but one that i take to heart and will keep auditioning as long as it takes. sorry for the rant, but thats just my 2 centavos.

bimmerfreak · Posted: Mon Aug 16, 2004 11:27 am Post subject:

Great stuff, Pitchlevel!!! I totally agree with you as well!!! There are an incredible number of variables determining the outcome of an audition and it is a totally extreme challenge!!

Please.. keep sharing your thoughts on this!! This is great!

Irving · Heavyweight Member Joined: 11 Feb 2003 Posts: 1887

Jon,

You shouldn't assume that the Union is an unbiased organization. Somebody auditioning for a job might have a strong connection with an important union member, who could make a deal with the orchestra's management to accept only 3% pay raise if when the present contract expires they take that person auditioning...see what I mean? This is how the world works, like it or not.

[ This Message was edited by: Irving on 2004-08-16 15:02 ]

bimmerfreak · Posted: Mon Aug 16, 2004 12:54 pm Post subject:

Ooof... Irving, you are so right! That's an excellent point.... I never even considered that and am now even further depressed.

pitchlevel · Posted: Mon Aug 16, 2004 1:24 pm Post subject:

jon, i used to get really upset when i heard about things like that happening too. and i would worry, am i ever gonna win a job, i didnt go to juilliard, i didnt study with everyone who knows everyone, i didnt go to tanglewood, i didnt do new world. and i havent had nearly as much success as you, and hearing you talk about how youve been a finalist multiple times and have a job now, that inspires me. and i hate to think that you might let up in your pursuit of your dream because then a lot of people might not ever hear you play and get further inspired and keep the cycle going.
i have a buddy who got invited to the NY phil upcoming private associate principal audition. i couldnt go to the open audition because of work conflicts, and i was pissed when i heard they were doing an invites only to try and fill it, but they fulfilled their obligation and held an open call and nobody won. i heard that no one got out of the semis. well before everyone starts complaining that oh come on i cant believe that nobody played good enough, i studied with bob sullivan (whose shoes are being filled by this audition) and bob plays the kind of audition i strive for. that is, the kind where you leave the committee no choice but to pick you, and i think thats a rare kind of auditioner. bobs not unsurpassed in his playing by others, but in his audition skills he is near the peak.
another whos at that level is jim wilt, our own mr. clean. jim won the NY phil and the LA phil both in the last 10 years while playing in houston, and i dont think he got any of those jobs because of who he knew. he just knows how to convince a committee that hes the best one for the job.
my buddy was runner up at almost every audition he went to until he finally just won an english horn job with a major orchestra. he just finally played better than everyone else.
be the best. and make them believe it. and youll win.

bimmerfreak · Posted: Mon Aug 16, 2004 1:43 pm Post subject:

Amen, Pitchlevel! Yes, Jim Wilt is an unbelievable player! At the last LA audition for associate, it was Jim Wilt, Adam Luftman, Josh MacCluer, and myself in the finals. Jim was the last one to go, and.... well... the three of us sort of overheard his round and unanimously declared him the winner. He played a frighteningly flawless round and I couldn't believe when the PM came out and said that he would have to come and play a week trial with them before being offered a contract.

We all thought that the audition in LA was run with the utmost professionalism and efficiency and were really happy for Jim. The committee invited all of the finalists to come in and meet them and, when we entered the hall, they gave us a standing ovation. It was really cool and auditions that are run like that give me hope for sure!!

bimmerfreak · Posted: Mon Aug 16, 2004 1:47 pm Post subject:

If enough people are interested in signing it, I will create an online petition for people to sign urging the AFM to take some kind of action regarding this situation. Please let me know and if, in the next couple of days enough people express and interest, I will create an online petition and post the URL on this message board.

Together I believe that we can make a difference.

Jon