Ralph, with all the other things you were right, but it is up to the professional to adapt to any players in the section - at spot. That is required from a pro.
Therefore the certain criteria during an audition. I would prefer, that in a final exam the probably winning candidate plays along with the principal of the section or with the second, to find out if she or he are able to adapt themselves to a given section. Bigger orchestras invite a possible new principal to a production (opera, symphony - better !), where the candidate has a few days to adapt. We used to invite such candidates to play a live opera performance if he or she knew the piece already. You cannot throw a fresh solo player into a live "Fidelio" performance for a 2.000+ audience. It would be too risky, as the conductors are either too nervous to have an unknown principal horn there or they do not care & never help with special care & cues for the young member. This is a fact. On the other hand, if the particular orchestra has "Elektra" or "Salome" in the program, it could ask the candidate, if they would accept this last exam. Well, the candidate could listen to the piece, using the music, if they have two performances of this opera, taking over the 2nd performance. He or she have the chance to invest a few $$$ buying a recording & the score (nothing works without an investment) or borrowing a score from the theatre´s library. If the candidate is really as good as he or she proofed during the audition. it would not be a nightmare, to prepare the performance. Every leader of the section would assist & point the candidate to the relevant "spots of special attention" and would be able to give an overall excellent picture about herself or himself. Animosity in the sections each other, why ? Some rivalry, well, that is normal. Exception from changing personnel in the section: the wagner tuba section remains unchanged, normally, but suffers to ill leave sometimes. But it is up to the section, to integrate the "jumper" at spot, as well as the jumper has to integrate to the section. After my opinion, it is not too wise, to trust the players, who form a fixed setting, too much. A good leader should have the ability to unite any section by his or her example. Remember: Conductors are often most upset, if they see even a new face in the viola or 2nd violin section. Quote: "What shall I do. He or she has never had a rehearsal with me !" Am 30.08.2010 um 09:58 schrieb Ralph Hall: > > Ralph R. Hall > [email protected] > Ralph R. Hall > http://www.brasshausmusic.com > > > Hans, I misunderstood your intention but that does not negate the > points I've made. > > I agree with you that the names we use are open to misinterpretation > and you are right - 'Sub-Principal' is > subservient to the Principal - as it should and must be. > > Ralph > > > > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
