Symphony in C
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.
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Orchestral Audition Nepotism
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…
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Spirocoreweich69
2 days ago
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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.
Edited
Concerto Cadenzas
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?
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nynyplayer
Jun 22
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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.
Hiring Subs from Other Full Time Orchestras: Is it Fair?
Something that seems to be more prevalent in the wind sections of full time orchestras is hiring substitute musicians from other full time orchestras. Why is that? I get that the orchestra wants to keep their concerts at a high level, but the musician already has a full time tenured job elsewhere. Hiring substitutes from other full time orchestras takes opportunities away from local freelancers who are just as good, if not better. Another thing to note is these musicians being hired seem to almost always be in an orchestra and live out of state. Why are orchestras mainly giving substitute opportunities to those who have already won and have their own job somewhere else? Why wouldn’t an orchestra hire someone local who can confidently fulfill the needs of that position?
Similarly, if the substitute is hired to play principal, but they are a 2nd chair in their own orchestra,…
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Candidate#69
Jun 09
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It’s important to keep in mind that there are a lot of factors related to hiring guest/substitute musicians that may not be apparent unless one is familiar with each particular situation. For example, it is not uncommon for an orchestra’s CBA to require, whenever possible, hiring someone who has previously been in a final round in an audition for that orchestra. Quite likely that is someone who has also done well in other auditions – ie. won a position in another orchestra. In addition, the hypothetical second chair player in your example very likely was in the finals for a principal or associate audition for the orchestra in question, and/or is known for having relevant experience as a principal player.
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SinC pay all of their members and subs! unsure what the rate is now but IIRC compensation was per rehearsal and service.