trickg

B15M, I think that you should go for it - even if you don't make it and get cut, you can't make it if you don't at least try. Also, taking an audition can be very educational, even if you lose.

47? You give me hope!

dizforprez

B15M,

Either way you learn something, and I think that is what it should be about. It will be a huge chance for you to grow and learn.

Romey1,

are you going? you have been to their auditions in the past havent you?

good luck to all!

By the way, have you guys read Mike Sachs story in "mastery of music"..now that is being prepared!

tpter1

I've been reading both of these parallel threads for some time, not commenting and watching as things unfold, thinking about what all of you are saying all the while.

Wilmer, as usual, is absolutely correct, andd is not saying anything at all negative to B15, but is simply forcing him to check his confidence in his abilities, and making him aware that this is an EXTREME level of playing.

I read an article by Douglas Yeo, and in that article he says that preparation for an audition does not begin in the practice room with the list. It begins YEARS ahead of time. Years of dilligent study, of correct and efficient practice methodology, and performing experience. A "killer", if I may elaborate on Wilmer's point earlier, has that background. A "killer" can render any piece on a short moment's notice in a manner that is absolutely stunning, reliable in terms of its consistency. A "killer" never misses. (Well, 99.999% of the time, anyway). The members of the NY Phil perform many, many works, on some ratherr short rehearsal time. Try this on for size, if you can handle it: look at their upcoming concert schedule for this month only. Add in recording sessions, open rehearsals for community education, and any solo playing these individuals do. Imagine this imaginary program, if you will: performing a concert like Ein Heldenleben and The Rite of Spring on Thursday night, as a live braodcast across the nation (Live from Lincoln Center), as your first performance of that repertoire that week, with rehearsals beginning on Monday. You have little time to get that material down, the it's on to next week: a Beethoven Overture, Ravel Piano Concerto and something else of shorter duration featuring the pianist (someone like Emmanuel Axe), and maybe Tchaikovsy Symphony Number 4. You are recording Tchaikovsky this week, so you are also working on Cappricio Italien for that project. Rehearsl time is at a minimum, studio time is expensive, and so you must be at performance level in 2 rehearsals.

I think the list is a resonable reflection of what it takes to maintain that schedule. If you can't prepare that list to that level in the time alloted, then you have no business being there taking their time. If you can, and you would know that by now, then go. It's not only being able to play it; it's being able to PEFORM it, at the level they need in the manner that matches and suits their style. That may sound harsh; but if you are in ANY kind of doubt about your ability to prepare, then you will not make it past the first round (where they separate the "men from the boys"). I have taken auditions I had no business taking, but would never attempt that level. It's like trying to do Everest as maybe your third climbing effort.

It's a great thing that as a comeback player you are even considering this. If you are at the level to do it, that is truly inspiring.

dizforprez

lots of good points glenn, The yeo article is a good read!

here is the link for those that have not seen it

http://www.yeodoug.com/resources/sym...auditions.html

I also like this one as well.

http://www.geocities.com/cbc95stew/VC-Auditions.html




I think Yeo has a good point when he says you are not competing against the other guys there, you are competing against the guy that current has the job and is leaving or the "ideal".

Derek Reaban

Wilmer,

You wrote:
That comment is very telling! One of my friends who is one of the best trumpet players that I’ve ever sat beside ended up winning an audition for the Phoenix Symphony when he was still in high school. I always knew that he had an incredible work ethic, and occasionally during lessons when we were working on orchestral repertoire he would pull out hand written parts.

I got the full story when I read an article about him in the paper:

Schwab

I'm afraid I have to go with Wilmer on this one. There are going to be guys auditioning that already have gigs in top orchestras in this country. I'm not going to be there because I know I'm not at that level and I feel the committee probably wouldn't want to hear me hack through the excerpts when they are going to pick a guy who could play them inside out, upside down in his sleep with great musicality.

B15M

OK you win, I won't audition but not for the same reasons that your not going.

I have too much other stuff going on to take the time to learn what is needed.

The truth is that you don't know what the committee will think of your playing. They might hear something that they like. The two guys that are better then you might miss stuff in the audition. There are a lot of variables. The only way to get a job like that is to audition. Win or loose. The more you audition the better you get at it. Each time increasing your chances of winning.