B15M

There are two openings in New York. I sent a resume and received the package of information about the audition.

To me the repertoire list is endless. I know about half of the stuff already but this is a busy time for me playing. I would have to give up jobs to take the time to learn the music, if I could do it at all.

I can't imagine anybody being able to go in and play all of this stuff.

Is any one else on here going?

robertwhite

There's a lot of stuff, but this is the New York Phil we're talking about. They do sometimes play those pieces, you know! There's nothing on the list that isn't standard rep.

They actually make things a lot easier by specifying what the prelims will consist of, and giving you the option of sending a taped prelim. But every audition involves a significant sacrifice of time and energy. That's why only people who can really envision themselves winning and keeping a job like this should make the effort.

I think some people see the two openings and think "wow, I've got twice as good a chance!" but that's not really the case. If you're going to gun for a job like this, you gotta do the work.

Mikey

And it would save them time and money to (hopefully) fill both spots out of one audition. Winner gets Associate Principal, 1st runner-up gets the section chair.

B15M

You have to audition twice.

Rick Chartrand

Hey B15M

If you decide to go for the audition I wish you all the best of luck my friend

My perspective is that I love to listen to both Jazz and Classical music even they are a world apart. However I dont like to play classical music. I had classical training coming out of my ears for countess years studying Arbams and I naturally gravitate towards playing Jazz anyway.

It depends on how deeply you want this prestigious chair in the Philharmonic. Ask yourself a few questions:

1: Are you willing to lose the income from gigs so you can study?
2: How important is it for you to get this position?
3: Do you want it because this is what you want, or is it just the prestige?
4: Do you eat, sleep and drink classical?

Anyway you get the idea. Personally I wouldnt bother because as I said I am a Jazzman and love playing Jazz not to mention the great income. But thats just me, if you want this and are willing to make the sacrafices nessasary to have a chance to get it, then I'd say go for it. Also you have to consider that you have to be VERY good to get the chair. And theres also the chance the you wont get it even if you bust your butt and leanr all this new material. What ever you decide I wish you the best of luck!

PS You'd be best off to ask Manny in manny 911 as he is the Principle trumpet player in the Minesota orchestra. He'd be able to shed some light.
___________________
Work hard for what you want, and you’ll get it

Equipment
Martin Committee Trumpet, T3467RE
Holton Heim # 2 Mouthpiece

Rick AKA Trumpet Man

missednote

Something else to consider is your competition. Maybe take the audition list to your instructor and ask him realisticially how many of the guys going in there know all those excerpts. The numbers might not be huge but I'd be willing to bet that the guys that are going to be competitive already know everything on that list. Now openings like this don't happen all the time, especially two at once, so it's a great chance to go and get audition experience. On the other hand maybe use that list as a guide. Study up and learn those pieces for the next time an opening comes up. Whatever you do good luck! Let us know what you decide.
-missednote

Anonymous

If you had the choice (which in this case, we do), would you prefer to send a tape which could be made perfect after countless reps, or do the live prelim? They both have their ups and downs.

Brent

wiseone2

I am not going, but I have been there......and made the finals.
The New York Philharmonic is one of the top orchestras on the planet.
I would not even think about auditioning unless I thought I was one of the heavy hitters on my instrument. It sounds cruel, but if you are not ready this time, they just might remember you unfavorably the next time you play for them.
Don't waste your time, only go if you are super prepared.
Wilmer

B15M

I would be very interested in what Manny thinks about this.

This is the list

Bach
X mass Oratorio 64

Bartok
Concerto for Orch
Mariculous Mandarin

Beethoven
Sym. 9
Piano Conc. 1
Violin Conc.

Bizet
Suit 1 or Prelude to act 1

Brahms
Symph. 2

Bruckner
Symph. 7

Dvorak
Symph. 8,9
Cello Conc.

Frank
D min. Symph.

Gershwin
Piano conc. mov. 2

Mahler
Symph. 1,2,3,5

Mussorgsky/Ravel
Pictures

Respighi
Pines

Rimsky-Korsakov
Scheherazade

Schumann
Symph. 2

Scriabin
Poam of Ecstasy

Shostakovich
Conc. 1 for piano and Orch.

Strauss
Also Sprach
Ein Heldenleben
Till Eulensipeigels lustig streiche

Stravinsky
Petrouchka Song of Nightingale

Tchaikovsky
Symph. 4

Manny,

Is this normal to be expected to go in and have all this perfect? I understand having to be prepaired but this is a lot of stuff.

Alex Yates

This is a normal list for this level of orchestra and the position(s) involved. I have seen longer ones infact, and some for orchestras nowhere near the level of the NYP. Most serious orchestral trumpeters can play half of those from memory and are definitely familiar with all of the others. Seriously B15, I kid you not. Neither does Mr. Wise.

Want to be floored by a little trivia? A great deal of orchestras across the pond don't require excerpts as much as they do a concerto or two. They might throw in a few, or a nomenclature that they may ask you to play a few, but the audition process is so different from what you are now finding out about the American/Canadian process of orchestal auditions.

Anyway, good luck with it all.

P.S. If you know the repertoire, you can pretty much guess why they are asking what they are asking.