Auditioning the Audition Process

Robert Levine wrote:

As a music director, wouldn’t you rather spend more time upfront on making a good initial decision than to have to rectify a bad decision by a termination?

I’m a bit uncomfortable citing “case law”, even anonymously, but in 12 years in my current position, and many auditions, the one audition winner who did not make past the first year of their probationary period had (I’ll use the contract’s word) deficiencies that only presented themselves gradually over the course of a season. Had a week (or even a couple of weeks) of playing in the orchestra been part of that process, the “bad decision” would still have been made.

In a “standard audition”, it can be obvious in a few seconds who’s not a suitable candidate. But a musician’s overall strengths and weaknesses often reveal themselves only over a long period of time.

Though it’s not explicitly stated as such, the probationary period is, in effect, an extension of the audition process in which the orchestra invests a considerable amount of time, effort, and money in confirming the results of the “12 minutes”.

Another thought on the good/bad decision issue: Some of the absolutely best hires we have made at the DPO are musicians who “bombed” an important excerpt or two in their audition, and who could easily have been bounced for doing so. And we’re all glad that someone on the audition committee thought to say, with encouraging tone, “Would you like to try that one again?”

About the author

Neal Gittleman
Neal Gittleman

The 2011-2012 season is Neal Gittleman's 17th year as Music Director of the Dayton Philharmonic Orchestra. Gittleman has led the orchestra to new levels of artistic achievement and increasing acclaim throughout the country. American Record Guide magazine has praised the orchestra's performance as has the Cincinnati Enquirer, which called the DPO "a precise, glowing machine." When the Orchestra christened the Mead Theatre in the Benjamin and Marian Schuster Performing Arts Center in March of 2003, the Enquirer reported that "Gittleman has brought the DPO to a new level." During his tenure, the orchestra has received nine ASCAP awards from the American Symphony Orchestra League for adventurous programming.

Prior to his arrival in Dayton, Gittleman served as Music Director of the Marion (IN) Philharmonic, Associate Conductor of the Syracuse Symphony, and Assistant Conductor of the Oregon Symphony Orchestra, a post he held under the Exxon/Arts Endowment Conductors Program. He also served ten seasons as Associate Conductor and Resident Conductor of the Milwaukee Symphony Orchestra.

Neal Gittleman has appeared as guest conductor with many of the country's leading orchestras, including the Philadelphia Orchestra, the Chicago, San Francisco, Minnesota, Phoenix, Indianapolis, San Antonio, Omaha, San Jose and Jacksonville symphony orchestras and the Buffalo Philharmonic. He has also conducted orchestras in Germany, the Czech Republic, Switzerland, Japan, Canada and Mexico.

A native of Brooklyn, New York, Neal graduated from Yale University in 1975. He studied with Nadia Boulanger and Annette Dieudonné in Paris, with Hugh Ross at the Manhattan School of Music and with Charles Bruck at both the Pierre Monteux School and the Hartt School of Music, where he was a Karl Böhm Fellow. It was at the Hartt School that he earned his Arts Diploma in Orchestral Conducting. He won the Second Prize at the 1984 Ernest Ansermet International Conducting Competition in Geneva and Third Prize in the 1986 Leopold Stokowski Conducting Competition in New York.

At home in the pit as well as on stage, Neal has led productions for Dayton Opera, the Human Race Theatre Company, Syracuse Opera Company, Hartt Opera Theater, and for Milwaukee's renowned Skylight Opera Theatre. He has also conducted for the Milwaukee Ballet, Hartford Ballet, Chicago City Ballet, Ballet Arizona, and Theater Ballet of Canada.

Neal is nationally known for his Classical Connections programs, which provide a "behind the scenes” look at the great works of the orchestral repertoire. These innovative programs, which began in Milwaukee 22 years ago, have become a vital part of the Dayton Philharmonic's concert season.

His discography includes a recording of the Dayton Philharmonic in performances of Tomas Svoboda's two piano concertos with Norman Krieger and the composer as featured soloists. Gittleman has also recorded a CD of George Gershwin's Rhapsody in Blue and Concerto in F with Krieger and the Czech National Symphony. Both recordings are available on the Artisie 4 label. The DPO's second CD, A Celebration of Flight was released in 2003 as part of the celebration of the centennial of the Wright Brothers’ first powered flight. The orchestra’s most recent CD, of live archival performances from four eras, released in 2008 in conjunction with the DPO’s 75th anniversary.

When not on the podium, Neal is an avid player of golf, squash and t'ai chi ch'uan and has added yoga to his regimen. He and his wife, Lisa Fry, have been Dayton residents since 1997.

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