Hello William, in my former orchestra, the audition jury consists of the relevant section leaders & their deputies, the orchestras elected deputies, a representative of the administration and a representative of the artistic leadership, be GMD or deputy or first kapellmeister.
But all orchestra members can listen to, express their opinion after every round and also vote. There are few restrictions: the leaders of the section are heard first, the whole body cannot overrule a veto by the section nor a veto by the artistic leader. Members who are in family relations with candidates or have taught them before have to abstain from voting. I think this be a fair procedure for an audition. I have to add that the first round is behind scree & anonymous, if this might be possible at all. ########################################################################### Am 13.03.2011 um 08:43 schrieb [email protected]: > I side with Hans on this. People are blissfully unaware how difficult the > Horn is (or any instrument) for that matter. So, they are blissfully unaware > of how difficult it is to play something consistently over and over again. > Yet, miss just once and they will never forget. It's sort of the opposite > of getting your palm read by someone, where you remember all the 'hits' - > both of them - and forget all the misses - hundreds of them. > > Other instrumentalists are also sometimes blissfully unaware of what we > deal with in horn playing - which is why I'm skeptical of any major audition > that neglects to put someone from the section on the audition panel. > > But, it happens, and such is life. > > -William > > > In a message dated 3/13/2011 3:20:54 A.M. Eastern Daylight Time, > [email protected] writes: > > Steve, you are far away from reality. Audiences have a very short memory > for the very good things, but a long lasting memory for the accidents > happen. > > About the money: > question back to you, did you commit that many clams .....? It would not be > an issue to surpass me regarding bank account because of clams. > You cannot become rich, playing at State Opera, even the salary is very > fine, > comparable to public prosecutor or DA. Well, I made some extra bucks > through soloing, my horn & music business, but much less you would > expect. I also spent a lot on travels with the family and on our travels > just in two. > > And last: if I had made more clams just to get more bonusses, I would > have lost my job. > > ########################################################## > Am 12.03.2011 um 23:30 schrieb Steve Haflich: > >> Hans Pizka <[email protected]> wrote: >> >> But there are other impacts like the beginning of Oberon. If played >> perfectly ten times in a row or more often, nobody cares >> >> Freund Hans: >> >> If nobody cares if it is played perfectly, then there is no worth in >> playing the piece at all. You must remember that when you play >> something perfectly (or even adequately) it will matter to those who >> listen. >> >> (If I had 250,000EU for each note I've clammed in performance, I'd be a >> richer man than you are, Hans. In fact, if I had 1EU for each note I've >> clammed in performance, I might still be richer, at least if I had >> invested wisely the performance indiscretions of my early years.) >> _______________________________________________ >> 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/valkhorn%40aol.com > > _______________________________________________ > 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
