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Originally Posted by rowuk  Is it conceivable that any one player would be suitable for all of the positions available. Is the playing so "interchangeable"? Do you think that a Tom Stevens student could have a stylistic edge in LA, or a Phil Smith student better fit in with the section in NY?
Do you think that Boston would favor someone WITHOUT a Monette?
I am not trying to be catty here. Should each orchestra have their own personality, their own artistic stamp? I sure remember Ormandy's "Philadelphia Sound" and Mr. elegant Gil Johnson fitting that concept perfectly for instance!
The recording of the Gabrieli stuff with Philadelphia, Cleveland and Chicago was a perfect demonstration of the variety of "style" that still could produce a cohesive musical statement. Those players were not "interchangeable" as far as I am concerned! |
We tend to forget the recent past. There was a time, and it wasn't that long ago, that auditions were small,
almost private affairs. Orchestras were part-time jobs. Positions were filled by making phone-calls to big name players, and taking their recommended students without ANY audition.
You had to have a big name mentor or you could forget about a major gig.
I don't recall Gil auditioning against anyone. He was Krauss' number one student and everyone knew it.
In a way, the new way of choosing players is fairer, but sometimes the player who sounds most like the old player gets the job. Radical change rarely wins.
Wilmer