Questions & Answers

Agree with what other have already said, and I would add that if you apply to a 1-year / temp position and win the job, you should get as much information as you can about the reason for the vacancy before you start. You might approach the job slightly different if the permanent spot is going to eventually become open … even if you’re on a 1-year you should be thinking of it as an extended trial period because colleagues will be hearing you and thinking “is this the right person to do this job forever?”

But if it’s a sabbatical or medical leave replacement and the permanent player is definitely coming back, you might approach the 1-year as more of a learning opportunity and you’ll want to continue taking as many other permanent auditions as you can while you’re there. Just some food for thought .

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.

The answer to this likely depends on the state’s labor laws and the orchestra’s unique union contract. In some orchestras, all the regulars have to be union members, but the substitutes do not necessarily have to be. In some orchestras, you would have to join the AFM local in that city just to play even 1 service as a substitute player. And in other orchestras, union membership is completely optional for all the musicians, regular or substitute (especially in right-to-work states).

In any case, I’ve never heard of an orchestra preferring to hire union musicians as opposed to non-union musicians. Financially, it makes no difference to the orchestra management as the union dues are paid by the musicians, not the orchestras. It’s more likely just a matter of what they are legally required to do. I personally recommend becoming a member of your AFM local in whichever metro area you live. Musicians’ only leverage is in their collective willpower, and the only ones who benefit when musical workplaces are not organized under a strong union are the employers.