Questions & Answers

In my orchestra (full time), it definitely depends on the program. For our more traditional/classical offerings, comp tickets are usually a guarantee, as the hall we play in is generally quite large and we don't sell those out. However, for our really popular programs like movie concerts, "pops" concerts, etc, we tend to sell those really well (and occasionally sell out) so we don't get comps for them.

In addition to temporary replacements for tenured musicians who accept a job in a different orchestra, there are other scenarios that cause one-year non-tenure-track vacancies to occur. It’s also common for such appointments to be made when a tenured musician is taking a sabbatical or an extended medical leave period. It’s also possible that it can happen when the position is actually vacant, i.e. there is no one on leave, but the orchestra is unable to hold the audition for the permanent position for one reason or another. Imagine that an orchestra has an opening for Principal Flute and Utility/Piccolo simultaneously. They are likely to hire the Principal Flute first, and make sure that person gets tenure, before holding a Piccolo audition (for which the Principal would be the chairperson). This could cause 1 or more entire seasons in which a temporary (non-tenure-track) appointment is needed in that Piccolo job.

I think it’s really commendable whenever orchestras hold open, blind auditions for these non-tenure-track positions. It’s expensive enough to hold an audition, let alone one for a 1 or 2 year appointment. But the timing of the leave/sabbatical requests can be such that the orchestra has no time left in the season to advertise and run an audition, and they are forced to just appoint a player at the discretion of the section principal and/or Music Director.

I realize to many candidates, this practice may look lazy or shady somehow, but in reality there are always many moving parts behind the scenes that make these type of appointments very common and necessary.

I think you’ll find that reaching a semifinal once for an orchestra is not enough of an accomplishment (on its own) to be auto-advanced in their next audition. Even reaching a final round is sometimes not enough to get an auto-advance. I think you should expect to start in the prelim round again.

I don’t think there’s anything wrong with asking the personnel manager and making a request for an auto-advance. You can include references from high profile teachers/coaches and things of that nature, and you can also make reference to your travel schedule - for instance, if you play in another professional orchestra whose performance schedule would cause you to miss the prelims and therefore threaten your ability to even take the audition, you could mention this. Most likely, the personnel manager will either give you a flat “no” or they will go to the committee chair and ask if they would like to re-review your application and consider additional circumstances. But unless you advance very far in a previous audition, making the finals at a minimum, I think you should always expect to start again in the prelims the next time there is a vacancy.

The CSO has several open positions currently, and a backlog of auditions to hold (Principal Flute, Contrabasoon, section positions in violin and cello, etc.) The bass clarinet chair has been open for about 5 years now, with no hint of an audition being scheduled. So I wouldnt bet on this audition being held for a while, especially since the new MD is only here a couple times a year, which severely limits the scheduling of auditions.