ecarroll

Hello all,

I'm home for an all too brief week after a flurry of activity in Los Angeles and Montreal. The trees are starting to change and it's good to be back!

Yesterday's announcement that Charlie Schlueter is stepping down in Boston caught my eye. I can't remember a time when there were so many chairs open in major symphony orchestras (Boston, Cleveland, New York, San Francisco, Los Angeles) and others to come (Atlanta, etc.).

I think that this is healthy (giving new blood a chance), but wonder what my friends and colleagues at TM think of all this movement. . .

Watching here,
EC

wiseone2

If I can find that darn Fountain of Youth, I'll be at the next audition
I need a job!
Wilmer

ecarroll

Wilmer,

Oh, to be 25 again.

Remedies are probably available on late night informercials or prime-time sporting events. Lemmieno if you find one that works. . .

EC

MalinTrumpet

Oh to be 35 again, 45, 55! Still at it though.

Lots of big news in the trumpet world lately. Charlie is retiring: I remember reading abut him in the Getzen Gazette when he played their horns and was principal in Milwaukee.
So many openings! What's really startling to me is an instrument company finally competing with Bach to challenge what so many of us feel has been the standard of the industry for so long. I could never imagine someone using another brand in the Chicago Symphony.

Mr. Vacchiano passing is the biggest news though.

Larry Malin

ecarroll

Larry,

Nice seeing you here, amigo.

I agree about Vacchiano's passing. I felt the same way when Ghitalla died. These people served as benchmarks for so many of us, even if we weren't students ourselves.

When Bud stepped down in Chicago I suddenly realized that I hadn't drawn a breath on planet Earth until that moment without him being in that particular chair. . . a very odd feeling indeed.

Stay well,
EC

fundenlight

I am rather socked and really don't know what to say in regards to Schleuter not playing in Boston anymore. Since I first heard him he has been one of my biggest inspirations as far as sound and musical, so much so that I would really like to study with him after my undergraduate degree is finished. It's just a little strange to hear this; I never really thought of him stepping down (it is inevitable I suppose). Damn...

CGUM

I wonder...If Wilmer sent in a resume: Would it be the MOST ecclectic resume?
Being a committee they'd probably still ask for a tape.


Hey Ed, I saw your annoucement for ChosenVale. Congratulations!!

ecarroll

TMers,

I'm recycling this old topic in anticipation of upcoming auditions in New York, Boston, and Atlanta. I suppose I could add San Francisco to the list, sadly, and I'm pretty certain that Montreal will happen again this season.

How many of you plan on making the circuit of the first three?

Best and watching here,
EC

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!

tpetplyr

Not necessairily, but it's hard to know which orchestra you're the best fit for until they hire you. I know you can hear my teacher in my playing, but I don't sound exactly like him, and I will have at least one more serious, long term teacher, before I'm ready to consider taking any of these auditions. I don't see the same person being hired for all three positions, though Tom here did win Houston and Atlanta, but I definitely see people taking all three (not me, mind you). If you're qualified to win one, you're qualified to win all three, and it just comes down to which orchestra your artistic statement meshes with the best.

On another hand, orchestral playing has become much more standardized to my ears. I have a few older recordings and am amazed at how different they sound, not only from each other but also from the recordings now. Even still though, I can still hear differences between different orchestras, a good chunk of which is due to the MDs decisions about interpretation.

I've gotten some advice both on these boards and from teachers: "Don't play like you think they want it to sound, play it like you think it has to sound. Eventually someone will agree with you." I think perhaps a really good player will go put it on the line at all three auditions and all three committes will say "He sounded great!" But maybe only one of them will say "He's exactly what we're looking for!" This is easily evidenced in the SFSO/MTT, um, situation.

Stuart