| I don't think it's entirely accurate to make sweeping generalizations comparing small and large orchestras. I have heard plenty of stories about goofy auditions, and seen plenty of goofy lists, coming from orchestras of all sizes. It is certainly true that some committees seem to be counting notes and expecting the second coming of Bud Herseth; however, I don't think it's just small orchestras that are in that situation. It just seems more ridiculous when they do it, so we notice it more.
I would submit that in many cases small orchestras have better justfication for their goofy lists than one might think. For instance, the BSO is known for being fairly selective about whom they invite, so they can safely assume that the candidates haven't spent every waking hour for the last five years practicing the same twelve excerpts. The Podunk Philharmonic doesn't always have that luxury, so they have to make sure that they weed out the wankers in the audition process.
Also, in some cases players in smaller orchestras face demands that are at least as extreme as those faced in the big time. For starters, the principal trumpet may be expected to play all the pops material, which may or may not be the case in major orchestras. Also, smaller orchestras often make do with reduced instrumentations, and often can't afford to hire assistants. It's not too hard to imagine situations where in the Big Time the principal trumpet would take the first half off and have an assistant for the second half -- with no extra expense since there are three or four players under contract anyway. In the Podunk Philharmonic, the principal player may well be expected to suck it up and play the whole show, with no assistant.
I think it is fair to say that the major orchestras have better musicians sitting on their committees. Those musicians may well feel more confident that they can spot the wanker playing the Leonore call than a committee composed of less experienced or talented musicians. As well, a major orchestra may be able to expect that a winning candidate have no significant weaknesses. The Podunk Philharmonic probably has to deliberately accept somebody with some shortcomings, so it is important for them to ascertain that those shortcomings are ones they can live with.
I'm not saying that sometimes committees don't make stupid requests. However, sometimes things which may initially seem ludicrous actually have some grain of logic behind them. I know that when I was preparing my audition for my current position, I was baffled by the amount of really loud and heavy playing required. I mean, this is a ballet orchestra, lots of Sugar Plum Fairies and general flitting about, what's up with that? The list in the first round was a total meat-grinder. It turned out to be completely excessive, and they trimmed it after the first group of candidates. I was wondering what these people were smoking. Then I won the job, and it rapidly became apparent that they had set the audition up the way they did for a very good reason. One of the main requirements for my job is the ability to survive two-show days playing Nutcracker or Sleeping Beauty or Cinderella, without an assitant, in a pit which is not exactly an ideal acoustic. Stupid as it seemed from the outside looking in, the audition was very well designed to ensure that a winning candidate stood a chance of surviving the actual job.
Just some food for thought! |