loudog

I didn't get invited to Toledo either, which I thought was strange...it was actually the first orchestra audition I DIDN'T get invited to. Kinda bummed me out :(

__________________
Louie Eckhardt, MM
Freelance Trumpeter
Performance and Instruction
http://www.LouieEckhardt.com

Jimi Michiel

There was a DMA student at my old school who applied and was invited. I think we have roughly the same qualifications, but he was almost done with his DMA whereas I was a masters student. I think we're both strong players and I'm not saying that he shouldn't have been invited, but it's funny that having a DMA got him invited over me. (And I'm dropping out of my MM program to study with Manny and gig, looks like I'll never make it...)

-Jimi

__________________

tatakata

There were students from small local schools and people still working on MM degrees at the audition.

bachstrad72

Just thought I would copy a relevant post from TH:

"Hey Max,

Just want to put in my 2 cents worth.... I know in our orchestra, if a player is sent a rejection letter, (or at least, a letter of discouragement), if you really want to audition, you may- the letter is simply a way of trying to save a relatively inexperienced player the time, trouble, and possible airfare.(which can amount to considerable bucks)

We sent this letter to one" Chris Martin" when he applied for the Assoc. Princ. job. As he had just graduated from Eastman, we didn't think he quite had enough experience for the job. If my memory serves me well, he had a letter sent from his teachers at Eastman (Butler/Geyer). Needless to say, he played a great audition- what impressed me the most, was that every round for Chris was stronger and stronger-(I don't mean volume, but merely his playing got better and better) Something you look for in a top orchestra, as the pressure mounts from round to round.

In short, a letter from your teacher (in your case, Thompson) can help open the door, however I would bet that if pressed, (if you really want to audition, and if you insist enough) no decent orchestra will turn you down for an audition. Don't just take "No" for an answer.

Bob Earley
Philadelphia Orchestra"

__________________
~Perry Sutton~
BM Mason Gross School of the Arts '05
MM Rowan University '07

http://www.myspace.com/perrysutton

http://musicalconservatory.com/faculty/brass_bios1.php

rubberduckie

The job is fantastic, I'm currently in Japan on tour w/ the principal guys doing quintet. We do 11 concerts in 11 days. Not your average "vacation to japan", heh. I just completed my first season at the philharmonic, and it was great music as well as great playing. Phil Smith sounds amazing, as usual. I just try not to get in the way. Watch and learn.

B15M

Hello Mr. Duckie,

I am not going to audition but, I am curious about the Charlier.
Why would they want to hear it on C trumpet?

I played it on my C trumpet and it seems a little easier but it bugs me that it's in the wrong key.

__________________
http://profile.myspace.com/index.cfm...ndid=238487314

http://webpages.charter.net/joespitzer/

loudog

Maybe I'm strange here, but I've always done the Charlier book on C trumpet. I've also played them on E-flat too...when it comes to etudes such as this there isn't a right key or a wrong key, necessarily. They are tools to help improve different aspects of playing.

If you can play it fine on B-flat trumpet, you should be able to play it on C, E-flat, F, etc.

I sorta picked this philosophy up from a tuba player. He plays C tuba, F tuba, and Euphonium. He said that you should be just as proficient on every horn.

I started practicing all my basics and etudes on multiple horns, rather than just the larger horns, and I have to say that my overall playing has improved very much because of it. I feel like I can pick up the E-flat trumpet, and play it just as well as my C trumpet. It's important to be flexible like that. Don't limit yourself to B-flat or C trumpet all of the time, especially if you want to win a job.

FWIW,
Louie

__________________
Louie Eckhardt, MM
Freelance Trumpeter
Performance and Instruction
http://www.LouieEckhardt.com

ecarroll

Louie,

Exactly. Etudes aren't concert pieces and there isn't a right way or a wrong way to play them. . . in fact I ask my students to experiment and play them differently each time (including transposing them up and down). John Wallace once called etudes like those written by Charlier and Bitsch "musical crossword puzzels -- great for the mind and ear". I like that.

Perhaps the NYPhil wants to hear how many interesting solutions each candidate can find? (and I bet, from my experience, that 99% will play them almost the same).

Best,
EC

robertwhite

Thanks for the heads up on the list, Matt.

rowuk

The orchestra probably expects a lot of the work to be played on the C trumpet (seems to be normal in the US). The Charlier does expose a lot of the players capability to prepare. It also shows how one handles the notes that are critical (4th space E, Eb for instance). You have to be REALLY comfortable with your C to play this type of etude fluidly!

__________________
Whenever I feel blue, I start breathing again.