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Recorded Preliminary Round

San Francisco Symphony just sent out a message saying that their committee has opted to do a recorded preliminary round in February, with semis and finals in April for their Section Viola audition. As far as I'm aware, this is a novel approach to have a time-limited recording period, and one that I hope other organizations emulate to respect the time and financial constraints of applicants.


Below is from their message to applicants:


Here is how the Recording-Only Preliminary Round will function:

  • Candidates will receive the preliminary round repertoire list at 12pm (Noon) PST on Tuesday, February 24. 

  • Candidates will have until 12pm (Noon) PST on Thursday, February 26 to submit their recording. 

  • The recordings must be done in one take and in the order of the list with no editing.

1324 Views
notabassplayer
22 dic 2025

I like the recorded prelim a lot, actually. And audio only reduces the barrier to entry even further in my opinion, since requiring video either necessitates the candidate to have either a. a good combination video/audio device, or b. knowledge and software required to combine a video source with an external audio source. With audio only, an entry level field recorder and the sanctuary of a local church or high school auditorium will yield impressive results. I've advanced multiple times in recorded prelim submissions using this exact setup.

drawing numbers and the order of advancing candidates

I was in an audition for a full-time position in a well known ensemble where we did not draw numbers in any round, and the audition order remained the same for advancing candidates in the semifinals, finals and super-finals. Is this a normal thing that happens or does it go against some rule (written or implied)? Should drawing numbers be something that is mandatory in auditions to keep things, at least on the surface, random and more unbiased?


The only candidate pre-advanced to finals was a frequent sub and went first, and that was the candidate who ended up winning. I don't want this to sound like sour grapes or that I believe it was fixed. The winning candidate is a fine player and could have won had candidates drawn numbers for each round.


However I've taken over a dozen auditions at this point and this is the only one…

1345 Views
OutlawNoHires
13 dic 2025

It probably doesn’t go against any written rule. In my experience, the practice of number drawing is facilitated by whoever is proctoring the audition, and it’s down to that person to do it in an unbiased way, or not. I would say having candidates maintain the same order from round to round, and then plugging in a preadvanced candidate as number 1 in the finals is decidedly NOT the fairest way to do it.


I would recommend that any round that includes preadvanced candidates in it should have a completely new numbers drawn. I’ve taken some auditions that use numbers for prelims and then letters for semis, so as not to confuse the committee and inadvertently favor a player because they are the same number as a candidate who advanced from prelims. All final rounds I’ve ever played, screened or unscreened, have began with all the candidates drawing numbers out of a hat or a bag. This is the most transparent way - having proctors predetermine the numbers is just an invitation for doubts about fairness and favoritism. I would also recommend that phones be taken, either from the candidates or the committee members (or both), before the numbers are drawn for a screened round.


I do think it’s acceptable for the proctor to determine numbers for prelims, based on the order that candidates arrive. Most ensembles assign you to a certain hour, and when you check in they tell you which number you are. I don’t think it’s a good idea to assign prelim numbers before check in, because of A) possible discrepancies in warmup time and more importantly B) it’s just too easy for candidates to share their numbers with members of the committee in advance, if they have a relationship.

MV42
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Maestro

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Virtuoso

Poorly run audition

I recently took an audition where the proctor(s) [librarians] did not adequately move the candidates from the green room to their private warm-up rooms resulting in some candidates having 1-5 minutes of preparation to others having around 45 minutes of time in their private room. I asked for more time than the 3 minutes they provided and they said they cannot give more time. I did not play my absolute best, and did not advance. Can an audition run like this be reported? I don’t have much experience with this, but am looking for answers from those with more experience.

1001 Views
2old4auditions
2old4auditions
23 dic 2025

This is not a good situation at all! My orchestra has provisions in the CBA that require a set time to be in the warm up room

precisely to avoid this situation. So sorry you were put in that situation!

Rep List “Subject to Change”

So I’m all signed up to take an audition in Philadelphia next month and I got an email from the PM last week that includes this ominous line:


“The list continues to remain subject to change and we encourage you to check our website periodically for updates.”


I will be emailing them to ask what that means and why, but in the meantime:


Has anybody else seen this before? I’ve heard of lists being altered without notice—generally due to some flavor of management miscommunication or incompetence—but to state deliberately in advance that it will/may change after an initial list being publicized is…a choice…?


Is this a committee decision? A capricious music director situation? A contract issue in desperate need of revision? A sneaky way of weeding people out of the process? What’s going on here?


Everything about the audition process is challenging under the most favorable conditions. Introducing variables like…


2818 Views
Horn_the_third
21 oct 2025

Is this different from the standard disclaimer included on most lists that reserves the right to ask for music not included on the list?

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