To see this working, head to your live site.

Audition lists

Why are audition lists getting so long? I’m talking into the hundreds of ”spots”. the amount of repertoire a committee will request to hear is the same as it’s always been, and they might only hear half of the list? the idea that they would like to hire a complete musician- so amongst other reasons they better be able to play all that rep (especially if it’s standard) - is understood. But it feels out of control and a little inhumane…the audition test is already not a perfect way to show how someone fits into an ensemble so why make it more ridiculous? Would love to hear thoughts in defense of requiring auditionees to prepare 120 excerpts to prove their worth.

4 answers0 replies

4 Comments

TimpPerc33

May 02

•

For percussion it's gotten pretty absurd. Especially among the more prestigious orchestras, it seems kinda like a contest to see who can make the longest and most obscure list. And to the candidates it feels like the message is "don't even bother applying, we know you can't learn all these notes" ... while most experienced players will tell you they can tell from the first few measures of a standard excerpt whether or not they're interested in a candidate.

I do agree that new music is super important though. There should be 1-2 excerpts on each list (speaking specifically about perc) that are brand new to all the candidates, like something from a tricky recent commission. It's a good way to evaluate how well a player can prepare something that has no related performance practice and all that baggage/context that comes with the standard rep.

But overall yes the lists are getting way too long. Imagine preparing 6 bass drum excerpts, bringing 4-6 different bass drum sticks with you to the audition, and then playing all the rounds but never once playing a single bass drum note on stage. It's happened before.

Canadiantimp

Apr 29

•

I don’t have an issue with asking more excerpts from the same repertoire standards. My issue is asking for excerpts from obscure pieces of music that the orchestra have maybe played once ever.

just an opinion, but I think you hear more from a candidate by asking fewer works, but to prepare full parts instead of excerpts. This way you can also add some section playing in the final round based on less excerpted passages from the full works. That and solo playing, but the solo I really feel should be candidate’s choice as they can show their strengths this way on a piece they know they have a mastery of.

Canadiantimp

Apr 29

•

Replying to

one exception that I’ll mention is if the list includes excerpts from the orchestra’s commissioned repertoire, then that really personalises the audition to that group in particular, and if you’re auditioning for a group that is known to commission works regularly you probably should be familiar with their back catalogue anyway

2224

Apr 30

•

Replying to

I disagree pretty much completely. 90% of the time, listing full works is just a pretentious form of posturing, as the committee ends up only asking for the standard excerpts anyway. Plenty of standard excerpts are already appropriate for section playing anyway.

New music is an important part of any orchestra's programming these days, and new music tests different skills. The committee should be interested in testing those skills, as well as the ability to learn new repertoire to a high level. Those skills tell you far more about a candidate than whether or not they already know some deep cut "gotcha" moment from a standard piece. A young player with less repertoire under their belt will catch up quickly. Someone who knows all the standards but doesn't have the skills to play new music at a high level is a much worse hire.