Auditioning the Audition Process

The question: Could Robert’s alternative audition procedure work better than the “current system”?

The definition: “work better” = be more likely to give you the best player/musician/colleague from a given candidate pool

My answer: Yes, maybe. I think Robert’s proposal could very well work better. It certainly would make possible deeper scrutiny of more facets of a candidate’s musicianship/personality.

General worry: Though not without its flaws, the current system does have the advantage of being the result of many years of incremental change, as orchestras gradually tweak and refine their procedures.
While adoption of an entirely new audition paradigm could be better than what we have now, it could also be worse. When we tweak what we have now, the worst we can do is a little damage at a time. Build an entirely different mousetrap and who knows?

Specific worry: The biggest change in Robert’s proposal is the alternative to what is now Round 1. When the only question of Round 1 is “Who that we’ve heard (a) meets our basic qualification level and (b) is worthy of a second hearing?”, it’s easy for an audition committee to give someone the benefit of the doubt. After all, hearing 12 second-rounders vs. 10 or 11 is only an investment of a few more minutes of listening.

But if the recorded prelims are the prelude to an in-depth semi-finals (especially with a plane ticket included), how long is it until a bean-counting management or board says, “Don’t bring in 12 semifinalists. Just bring the top 3 or 4.” (or 2)? Could this process inadvertently end up narrowing the range of choice?

Fundamentally, every audition is a crap shoot (for orchestra and candidate alike). Does this alternative system improve anyone’s odds when the dice roll? I’m not sure…

Answering a question with a question: How often does the current system yield a “bad result”? Or no result? I think that would be important to try to factor into the discussion.

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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