Sorry, can't really decide which of the 3 forums this question is appropriate for... I was wondering what the status of the position may be, whether it still exists and could be filled at some point. Dan Gingrich last held it but he'd just been listed as a section horn for the last year or so.
Does Symphony in C offer a stipend/something similar like New World does with their fellows? I'm curious since I can't find that information on their website.
SinC pay all of their members and subs! unsure what the rate is now but IIRC compensation was per rehearsal and service.
Hello All,
I would like to preface this by saying that the audition candidates are completely not at fault for any of this as they have the same intention as everyone else, which is to win an orchestra job. Instead, the issue falls on the audition committee that promotes and executes this behavior.
I’ve been in the audition circuit for a bit now and have encountered some “eyebrow raising” stuff at some auditions. Firstly, there was an audition for a major orchestra a little over a month ago that is (in our instrument’s community) notorious for having an extremely controversial audition outcome for their past 3 auditions. (For those who know, you know which orchestra I am talking about) At this audition, I was told all finalists were students of the principal player of the orchestra (who was on the committee) at the university the principal player taught at. This…
A panel will choose based on preference, and someone who studies with a section member or has subs with the orchestra will always be favored. This isn't nepotism. While playing in a way that appeases their teacher might lead to success in one audition, it could hurt their chances in other auditions. In short, you can’t help the fact that teachers tend to favor the way their students play over others. I wouldn't raise a red flag unless you know an audition is unscreened. Pure objectivity is not a real thing in orchestral auditions. It's never “the best player” that wins (there's no such thing); a panel is always choosing based on their personal musical preferences.
If you want to improve your chances of advancing at an audition, research the orchestra's preferences, take a lesson with the principal, or ask one of their students to listen to your tapes. Prepare for the job you're applying for instead of trying to “be the best.”
There is real blatant inequality in our field, and policing false nepotism detracts from the real systemic racism and sexism that continues to define American orchestras.
Okay, so I know that with per service and regional orchestras usually only the exposition of a major concerto is required, but what about for a top 10 orchestra? Should we prepare cadenzas for each movement? And is the committee expecting to hear something unique or is it okay to play one of the standard cadenzas that I've been practicing since high school? What does it take to win one of these jobs?
I am a member of an ICSOM orchestra and have served on the audition committee for many many auditions. Please believe me when I say that all the committee wants is for you to play your best. Pick repertoire that will enable you to do that.
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I don’t have any insight into this orchestra or its horn section, but I would venture a guess that it has something to do with the prolonged process to hire a new Principal Horn, which they were finally able to do. And I bet it has been difficult for them to even schedule auditions given the transition from Muti to Makela.