Auditions, an Observation

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Readers of the IHS Horn-List have written inquiries and comments concerning symphonic audition outcomes.   I thought I would offer some comments concerning the symphonic audition process.  These are thoughts gleaned from past performance experiences and from my frequent role on audition committees with our orchestra.

Last evening, we had oboe auditions for the Philharmonic and a very young lady won the position, hands down, over more experienced colleagues.  Thus, this is the impetus for this post which is to be a voice of encouragement and direction to those who wish to pursue a career in orchestral performance.

Despite the fact that every ensemble would like an experienced player, I would like to state that it is not impossible for younger people to win auditions.  In fact, youth may be a tremendous asset.  For instance, if the Music Director has a choice between a younger, inexperienced player (who evidently has all the performance skills and has done the necessary musical homework) and a more mature, seasoned player, the Music Director may well opt to select the younger person, thus being able to groom or mold this young artist to fit the Director's conception of the orchestra.

While there is no substitute for experience, astute younger players can level the playing field significantly by doing the required homework and preparation.

What do committee members look for?

Rhythm/Tempo

This is of paramount concern.  All tempos need to be within the parameters of common performance practice.  Thus, the auditionee needs to listen to a variety of recordings to identify these parameters and select a happy medium.  If there are rests, the auditionee must count in tempo and with correct time in order to enter the next phrase correctly.  It is important in ones preparation that you practice with subdivision (actually playing in subdivision may be beneficial) so that you will get the feel and inflection of the rhythm.  In many orchestras, the musicians may not get much help from the Music Director, if you don't believe me look at some of the symphonic concerts on PBS.  Often these conductors conduct phrases or give subtle indications of entrances or nuances by which the musicians are expected to respond.

This is one of the reasons your preparations during your formative years have been on etudes.  If you need remedial work on rhythm and tempo, return to Kopprasch, Kling, and Mueller studies.
 

Articulation/Style

It should go without saying that the auditionee should be familiar with every note of the selection that is on the audition list.  Though specific excerpts are asked, other portions may be asked as sight reading.  It also would be a good idea to know the programming of the upcoming season, as this may prove enlightening to prepare for sight reading too.

One's choice of articulation and musical style should fit the music.  The use of a generic tone and articulation choice may not be the best plan of attack for the auditionee.  It would be wise to show the committee a wide variety of style so as to show a greater breadth of musical knowledge and instrument control.

One should prepare every selection by repeated listening and score study.  Looking at the score will give the preparer added insight into the workings of the solo passage.  The second movement solo in Brahms Symphony No. 1 is a good example.  The first time around, it is not a solo at all.  It is performed in tandem with other instruments, a composite sound. It depends if the director prefers the oboe or the violin to be the primary voice.  Being that there are three voices doubling this passage, absolute rhythmic security is essential.  The second time the solo comes around, the difficulty increases.  The horn has the solo alone, but the rhythm is greatly complicated by the violin 16th note obbligato and the tympani triplet pulse underneath.  This doesn't include the problem of musical inflection and phrasing.  For this you usually defer to one of the other two solo voices.  On rare occasions the Music Director may defer phrasing/style decisions to the Principal Hornist for this selection.

Rapid, agile passages should not sound labored.  Heavy fanfare-like passages should not be performed like tearing sheet-metal.  There is a time for edge, but use it sparingly.  I like to call edge "expressive distortion" and use it only sparingly.  Too often I hear edge at a much softer dynamic than necessary.  It would be wise to practice at very intense levels, but with care to either eliminate this edge, or else hold it to an absolute minimum.  Brass horns, especially those with medium or small bells are prone to edge out more quickly, however it is possible to somewhat alleviate this problem.

One should be able to explore other avenues of performance.  Some people abhor the use of multiple tonguing.  Though these people may be blessed with a rapid fire single tongue, often the music effect and resulting sound of a very fast single tongue may not be the best solution.  True, single articulations usually give a crisper beginning to the note, but it extremely fast passages, this tongue motion gets in the way of the long air column.  In effect, the fast single tongue blocks more air than it lets through.  Learn to develop a very fast single tongue, but also develop your multiple tongue articulations too (be able to do these slowly so you have a choice between the two).

Be sure you are aware of the differences of the various accents and expression marks.  Not all accents are created equal.  If you go to the first volume of the Maxime-Alphonse series, you will notice there are 6 different accents and expression marks introduced.  When the novice performs these (even experienced players) only 2 or 3 different effects are performed.  Thus, when you are confronted by various accents and expression marks in your audition music, you must play these correctly.

To work on musical style and facility, I recommend the Maxime-Alphonse series and the Gallay 12 etudes, Op. 57 (Second Horn Studies).  For phrasing and musical idea development, I recommend the Unmeasured Preludes of Gallay (these are found in the back 1/2 of his 40 Preludes.

Tone

While this is subjective, one should be willing and ready to adapt in order to pursue a broader color spectrum.  More than thinking "dark" or "bright," I would ask that each person consider the term resonant.  Does the tone you emit have color or a presence of overtones or is it rather stiff, dull, or even compact?  To be sure, equipment choice will have some effect on the resultant sound, but also hand position, embouchure mechanics, vowel formant, and the supply and use of adequate air will make far greater differences than instrument choice.

Within the playing register, does your resultant sound stay consistent? This should be the goal of a competent performer.  Also for period music, there are also considerations for performance.  To play Mozart with the same sound and approach you would use with Brahms does a disservice to the clarity of the classical music.  Even in 20th C literature there are some types of compositions that benefit from specific colors from the hornist. For instance, Stravinsky explored the outer ranges and limits of the instruments.  While it is commonplace nowadays to play much more difficult music (technically and in range demands), one should approach some of Stravinsky's demanding music as if one is on the cusp of one's technical limits, as if one is hanging from a ledge by the fingernails.  This is the sound he evidently had in mind.

Thus, for whatever concept of tone that you have, you must make sure that it is even throughout your register.  In addition, this tone should be able to be adjusted so the timbre can fit the various styles of music you perform.

Intonation

It is shocking to hear so many people who do not have a good idea of a tonal center.  If you are playing alone, you must hear melodic intonation correctly.  Look for "anchor pitches."  This can be any recurring note within the section or the phrase.  Every time you return to this anchor, the pitch must be the same; no wandering allowed.  In addition, be aware of scale and interval intonation.  While a chromatic tuner is useful to use, it only gives one part of the picture.

The chromatic tuner gives readings in equal temperament.  In practice, wind and orchestral players hear intonation in Pythagorean or intonation based on the principles of physics.  Some parameters are 5ths need to be stretched, major 3rds and 6ths lowered, minor 3rds and 6ths raised, leading tones to the tonic very narrow and minor 7ths which resolve are placed
extremely low.

I recommend Steve Colley's Tune-Up Systems, a CD based intonation workbook for individual practice.  In addition, I would use Verne Reynolds' Intonation Exercises for Two Horns so you can work with a fellow musician.  I have seen many competent players who are technically proficient, but lose auditions or positions because of faulty intonation.
 

Adaptability

This is an essential component that separates adequate from first-rate players.  In an audition situation or within a section, one must be able to adapt to various situations and requests.  While each of us may have an internal concept of how to perform a given selection or passage, many times we have to adapt to the general wishes of the Music Director, Principal player, or even colleagues within the larger composite section of the orchestra.

In an audition situation this is often tested.  If the audition committee is impressed, one or more people may ask you to play the passage again with different directions.  This is not a criticism; moreover you should take this as a compliment that they are interested in you.  Therefore do your best to respond to their wishes.

In order to do so, you must prepare in extremes concerning intensity of sound, tone color, articulations, tempo and the like.  This is why listening to a variety of recordings in preparing for auditions is essential.

The auditionee should understand that the Orchestra Committee wants you to do well.  They are not looking to keep you out.  However, they want a performer who will fit in the orchestra and not be a detriment.  No one will pick a candidate who possess fatal flaws in rhythmic precision, instrument control, or pitch.  To do so would invite disaster with the other musicians.
 

Opportunities

There are a variety of opportunities for young people starting out in a performance career.  While many young people have aspirations of playing in an A or B tier orchestra, often it is very difficult for an inexperienced player to have success.

Regional and metropolitan orchestras offer the most access to young musicians entering the business.  While these orchestras may not offer a living wage, the enterprising artist may be able to supplement income by private teaching, jobbing, being hired adjunct by a college music department, or by finding  employment in another area.

With so many unemployed musicians wishing to break into the performance field, I find it odd that so few people attend auditions for these orchestras.  Those who have had moderate success with auditions may find this a successful opportunity of employment by which to gain experience.

Often these orchestras play surprisingly well.  Many of the players may be a mixture of local professionals and university faculty who have first-rate performance skills.   The literature covered by such an orchestra will be of high quality, but not with the frequency of performance which full-time orchestras enjoy.  Nevertheless, the experience is on-the-job training that will become invaluable as the musician progresses to the next level of employment.

Practice makes perfect

The audition procedure is the most nerve wracking and intimidating process you will ever go through.  I've been through it many times and do not wish to go through it anytime soon.

However, regardless of the outcome, you must take something positive away from any audition.  Knowledge is power.  What did you learn about your preparation?  What did you learn about yourself?  What did you learn about the nature of people?

When preparing for an audition, play for colleagues, school peers, music classes.  Any performance on-command is good training.  If this is not possible, then tape yourself and listen to it objectively, as if you were the judge.  What do you hear?  If you can imagine the orchestra alongside of your performance, you are on the right track.

Performance in-context is the final area of excellence.  If the committee members can envision the orchestra when you play and what you play coincides with this imaginary orchestra, then you probably will be successful in getting into the final rounds.  It takes practice to prepare an audition for a successful conclusion.  If you are selected into the final round, then it is only a matter of time.  During finals, small variables can make the difference between the person hired and the others who get a "thank you."

Work diligently toward your goals.