Auditioning the Audition Process

I think that the 10-minute, open-to-all audition still has a place in the scheme of searching for new players for an orchestra, but mostly as a way for a player with no experience and/or credentials to be heard. For me, it is more important to focus on who the audition committee is, how well the current orchestra players feel represented by it, and the extent of the committee‚s power to make decisions.

I feel that the audition committee should have some titled players who are obliged to serve, and be open for full membership to any other players in the orchestra who are willing to take part in the whole process, that is hearing all of the auditions from preliminaries of all forms through the finals.

I also feel that the process should never be rushed. Players that make it through to the final round should not only have substantial trial periods with the orchestra, but need to have ample chances to show their personalities via a short recital and/or chamber music playing with their potential 30-year colleagues.

Finally, if an orchestra has a music director it would like to involve in this process, it would be good to keep in mind that the new player, together with most of the current players in the orchestra, will probably be working together far beyond the golden era of the current music director, and that that should determine whose preferences and tastes should have greater weight in making this important choice for their organization.