A flute player asked a similar question but I’m a cellist so it’s a little different
When provided music for excerpts, there is often bowings and fingerings. But the audition is behind a screen for most of these places… anyone have experience changing these things and just making sure you achieve the goal of the fingerings and bowings or should I follow them precisely?
...or I'm having a senior moment with technology.
Their website has a link to the application portal, but I cannot find the repertoire list. Audition day is ~5 weeks out, application closes in two weeks.
Anyone know what the rep is? I'm getting antsy.
Probably the list is still being talked about by the committee or something...have you reached out to their personnel manager? Or is it possible that info on list release date was communicated in a followup email after application? I'd be antsy too lol.
I’m new to auditioning. Can I choose what Mozart edition I use for an orchestral audition? The orchestra has a random Mozart in G exposition in the packet; however, I feel like that edition is not historically accurate in the use of articulation. Would it be okay if I were to use a different edition of the exposition in the recoding auditions and/or the real audition?
It's absolutely fine to discard the provided part for concertos. For excerpts, you'll want to use what's provided, unless it contains obvious errata.
Hi all, any Americans who have made the move or leap to the European countries that love muvac, how has your experience been? I find muvac to be kind of cold and removed, which I honestly like for an audition, but this “removed” quality includes having very little actual info on the posting. They lack things like a link to most of the orchestra’s websites, as a lot of the orchestras with job postings on muvac don’t have any information available on their own site regarding the audition, or an email to ask questions such as if they even except an American with an odd visa but not citizenship.. Is this intentional to keep people not close in location and relationship to these orchestras and academies out?
Your experience will probably vary quite a bit by the orchestra's nationality and size. My take is that the platform is designed for European players' use, but it can be used by anyone. I used it for an audition at a major orchestra in Scandinavia, and I had all the information I needed, in English, including contact info for management. It really comes down to how thoroughly management prepares the information on the website. You may have more success sussing out immigration exigencies by word of mouth from foreign musicians in said orchestra or country. Don't be afraid to try it! It's can be fun to try a different system, and can open a whole new set of opportunities for you. -PP
Find your people:
it's easy to list with us online and on our Instagram page!
There are exceptions, but for the most part, you don’t need to follow their bowings or fingerings unless it specifies that you must (and I’ve only seen that demanded upfront with a few very regional orchestras or schools). Much more common is something along the lines of “you may use your own music, but be prepared to use our parts,” so you should always practice their bowings just in case, though I’ve never seen that applied to fingerings. General rule of thumb is to play how you sound your best and be ready to adapt if they ask you to do something different. If they like your playing but want to hear it a certain way, they’ll ask.
Almost every packet I’ve ever received has either been totally clean or just a photocopy from the part they have in the library. Those markings are generally how the orchestra played the piece last, which might be how they still play it. Or it could have been from 20 years ago with a different conductor/principal/concertmaster. 🤷