Candidates who have not sat on committees and are going through the audition process just do not understand the complexity that goes into committees and the logistical and procedural parts of hiring etc. I had no clue while auditioning, so this is not a criticism but an observation. If you think you know what went on, you don't. And the reason you don't is because it's confidential, anonymous when possible and private to respect all involved. If there was a no hire, someone did not get the votes. That's for all committees. I agree with the individual above, pay attention to hires as well and don't use black and white thinking to insult an MD and an orchestra when you just do not have all the info. It's disrespectful and frankly, misinformed. We all want to hire. Sometimes we are desperate to hire. My orchestra (not the ASO) always wants to hire and we want to hear great music making, but if it's not there, it's not. These jobs are jobs for life, right? I encourage anyone who's had a bad experience auditioning with an orchestra to speak to the local union rep. Provide constructive and real time feedback. Defaming an MD or orchestra online will not make the process better. Addressing issues with the personnel manager and local union rep, will. I understand auditioning and no hires are frustrating, it's frustrating for committee members as well. It's not a perfect process. In most cases, everyone is doing their best and there isn't out right malicious intent.

In my orchestra there have been more than one hire of a musician into a position who may know someone on the committee or already sub, so to reduce bias only the members of the section will step from behind the screen to play with the candidate. Thus leaving the majority of the committee still blind to the identities of the finalists. Although not perfect, I feel it's a compromise and works in some situations.

I am a member of a full-time symphony orchestra and have sat on many committees including ones who have hired and ones who have not. I've also voted for trials and seen that process happen multiple times at this point etc. I have taken many more auditions than committees I have sat on. The first and most important thing I prioritize when sitting on a committee is to be fair in my judgement (not holding anyone to any standard I wouldn't expect of myself), and also advocate for candidates and for a just and well run audition which follows union rules and procedures. I try to be an advocate as a committee member and I know many of my colleagues do the same because we KNOW how tough it is. We've all been there and many of us recognize the luck and opportunity we have to be in the position we're in. Etc. With that said, the process is flawed and very complex. Things are never as straight forward as they seem and there are so many road blocks to making things work smoother, faster and more efficient both for committee members and candidates. I will say that myself and many colleagues in my orchestra are ACTIVELY fighting to make our auditions better each time and to give candidates more of an opportunity...and really just to make sure everyone who auditions for our orchestra has a positive experience. For instance, I and my horn colleagues always take thorough notes and offer them to candidates...no matter how far they advance. This practice was not common when I was auditioning and still isn't to this day. It's unfair to candidates...gives them no context to understand why they might've been cut etc I listen with empathy and understanding behind the screen, but what I want to hear from a musician in my orchestra is a gorgeous sound and GUTS to really go for the music and style. Strauss shouldn't sound like Brahms and Debussy shouldn't sound like Stravinsky. I want contrast and someone who excites and inspires me! On top of all the basics etc. In my orchestra, people get cut from prelims due to rhythm and intonation first and foremost. There isn't a lot of subjective things about sound or interpretation in this round. As a hornist, I'm more understanding of cracks and messy slurs but my violin And percussion colleagues are not. That's part of what makes a committee work is the diversity of listeners and interpretations. The semis is where the committee starts to become more subjective with sound concept and interpretation. And rhythm, intonation etc need to be super solid or it's an immediate cut. Finals here is about being wow'd.. We want a player who really sells, convinces, goes for the music! And then if it's a section or principal job..demonstrates they can do the role that's being auditioned. In my case, we often have section rounds so we can play with the candidate and really get a feeling from that. It's amazing how much you can gather from playing with someone for 5-10 min... Every committee I've been on has had wildly different opinions. Out of 10 people, we hardly ever have a unanimous support, BUT committee members here will support the position of the section who's position is being auditioned. Common courtesy I think. In regards to no hires, we all hate them as much as you do. My orchestra has vacancies and it's a huge strain on us as an ensemble. We WANT to hire and we want great players. The issue is that since Covid our numbers for auditions have gone down a lot. For a horn audition, we used to get 40-50 people. We struggle now to get 20-30 sometimes. Some of that it seems is due to the large amount of vacancies and people just can't keep up with the amount of auditions. When I was auditioning there were only 6-7 auditions a year of salaried jobs for horn. Post Covid there can be 6-7 in 3 months. People are not hired here or advanced due to one reason. Votes. If you want to advance, you need majority vote. It's as simple as that. If you want to be hired, the committee has to firstly agree they're ready to do a hire vote and then one person or more has to receive the votes for a hire or runner up etc. Trials are only awarded to candidates of our orchestra once we feel they are 95% there. When the committee is a bit on the fence but overall is excited about someone. It's sortve a path to hire. We do not award trials unless the committee feels someone is playing well enough to be offered one. I am currently under a lot of stress due to vacancies in my orchestra and my section. I want those positions filled, but I will not vote for someone to be offered a trial (which is essentially a strong path to hiring) whom I do not feel good about their playing. I could be sitting next to you the rest of my career. It's that serious to me. This person will be playing into my head...literally. Sitting on a committee has been stressful, hard and difficult in more ways than I ever thought it would be. I don't enjoy critiquing others playing. I want people to do well and I consider myself an advocate for candidates at auditions. I am a young member of our orchestra and always try to encourage my older colleagues who have not taken auditions recently to listen with empathy and not from a high horse. In the end, I cannot control the level of playing that's represented that day at an audition, I cannot force my committee members to bend to my well and nor can they do the same to me. It's a flawed process but in my orchestra we, the players, are working to make it better and hope our candidates can have a positive experience even if it doesn't workout for them in the end. Wishing you all the best!

There is a process outlined in a CBA thats negotiated by the union and musicians of the ASO. The committee must follow those procedures and a candidate must obtain the proper amount of votes for hiring. If no one received the votes, then there is a no hire. I’m sick of reading about all of you whining about auditions not hiring people. Play better and they will. The Atlanta symphony is one of the best orchestras in the country, theyre not just going to hire anyone. Even for a one year.