Auditioning is one of the most nerve-racking hurdles for any musician. Hours of practice and preparation cannot compare with the actual experience of playing before an unseen group of adjudicators.

The orchestral audition of today is a far cry from the process that was in place about 50 years ago. Back in the dark ages, the section principal and music director usually decided who would become a member of the ensemble. Sometimes the conductor could appoint someone on his own (always a he in those days).

Starting in the 1970s, to ensure what was dubbed ‘equity and fairness,’ screens were placed in between the musicians vying for a job and the committee members involved in the decision-making. I have reservations about today’s blind-audition process, considering that it flies in the face of the diversity and inclusion goals that orchestras are trying to achieve, but that is the subject of another discussion.

Here, I would like to present a conductor’s perspective on what a string player should consider when undertaking this most arduous of tasks. Let’s start at the beginning, when you decide to respond to an audition announcement. Along with your application, the orchestra will ask you to submit a resume to establish your credentials and perhaps a video or audio recording to demonstrate your performance skills. Once you are accepted to attend the live audition, the fun starts.

When auditioning for a string section position, you will be allotted 10 or 15 minutes of actual playing time. The audition might be in the hall where the orchestra resides, or in a large practice room. No matter where, a screen will separate you from the committee evaluating your audition. In essence, you cannot communicate visually or verbally with anyone on the other side of the musical Berlin Wall.

My first piece of advice is to play a few notes to get a feeling for the acoustics of the space before you begin to tackle the list of required pieces. With a screen or curtain in place, some of the sound you are producing will bounce back at you, so it is important to gauge what is projecting to the other side. You cannot practise for this because each venue will be different, which is why I recommend assessing the sound while you tune or noodle on your instrument and not as you begin to play the music.

The orchestra will provide a list of options from the concerto repertoire. Of course, if you win a section position, the likelihood that you’ll perform one of these showpieces with the orchestra is low. My preference is to allow candidates to pick any piece that shows them off at their best rather than restrict them to a few choices. I can offer the following recommendations by instrument:

Violin: Do not play the Beethoven or Mendelssohn concertos. The first is too risky, and the second can disqualify you from the second bar. Both begin in high registers with immediate leaps that can present intonation challenges in a new environment. From my perspective, Prokofiev No. 2, Barber, or Bartók No. 2 provide solid opportunities to show off a rich sound as well as your technical skills.

Viola: The Bartók is the go-to work, but other concertos can be even more compelling. Hindemith and Martinů come to mind, but they may not be on the list.

Cello: Probably three-quarters of the time, candidates select the Dvořák concerto, but it has a couple of built-in dangers. If your instrument is not of the highest quality, the opening can sound aggressive and rough-edged. I would consider Tchaikovsky, Saint-Saëns, or even Lalo.

Bass: OK, you are kind of stuck with the Koussevitzky, but there are a couple others out there—maybe something more contemporary, if the orchestra will allow it.

After two or three minutes, you will hear a voice from the far side telling you to move on to the orchestral excerpts. Throughout the process, the personnel manager, who is usually seated near you while you play, serves as the conduit through whom you can convey information to the committee if, for example, you need some time to adjust the music stand.

During the initial round, you might play five to eight predetermined selections from the repertoire. How you prepare these on your own is unique to you. If you have played in several orchestras and are familiar with the music, you probably have a slight advantage over others. But if you are coming out of a conservatory or music school, here is some advice from a veteran of the audition wars:

First, learn the excerpts in the same way you would any other piece of music. Listen to several recordings of each selection to get an idea of the variations in tempo among different interpretations. Find the one that best suits your temperament, but practice at different speeds in case the committee asks you to play the passage a bit faster or slower.

If the orchestra has provided you with the parts, you should follow the indicated bowings; however, since no one can see you, perhaps it is possible to get away with ones that are more comfortable for you. Absent an indicated portamento or string preference in the music, go with your instincts.

That brings me to what I see as the most important part of this or any audition. We encounter so many capable string players these days, technical whizzes who can sail through the most treacherous orchestral waters, that many of them wind up with positions simply because they can deftly navigate their way through the audition repertoire. However, I have always looked for something else, beyond a high level of proficiency: individuality.

Although rarely on display during orchestral auditions, individuality is the defining characteristic that makes me interested in hearing what comes next from a particular player. Don’t be afraid to express yourself, even in the excerpts. The committee will let you know if they want to hear an excerpt played in a different way, so why not take the chance? Use your best musical instincts to convey phrasing, dynamics, and tone quality. Make sure that your spiccato bowings are crisp and clear. The legato passages should be singing and expressive. Go for the long lines rather than the individual bar lines.

Next time, I will discuss what happens in the next audition rounds and what to do if you are not selected to advance.

Bonne chance!

Published in The Strad, December 9, 2024