Auditioning the Audition Process

My Berlin Philharmonic colleagues would be flattered to learn that our search/hire system has attracted the interest of the panel participants and the readers. However I must point out that we are not alone in this. Other German orchestras use much the same system, a fundamental feature of which is that the conductor has much less input than is common in the USA.

With reference to Robert’s 3 assumptions, here are my reactions:

1) To be granted tenure by the Berlin Philharmonic, a probationary player requires a 2/3 majority vote of a secret ballot at a full orchestra meeting (whereas at the audition only a simple majority of those attending will have been necessary). Indeed, the final tenure decision does offer individual voting orchestra members the chance to be more ruthless if necessary, because it IS a secret vote.

2) & 3) We do take the auditions very seriously, however it is indeed the probationary period that is the all-deciding phase. We must try to ascertain if we have found not only the right musician but also the right partner for a multi-decade artistic AND business relationship.

As is well known, we choose our own music directors too, an aspect often singled out to illustrate our democratic principles and independence. However the truly most important decision we are responsible for is the hiring of our own colleagues, the consequences of which are far longer-lasting and impacting.

Yes, it’s all about the ownership.