Audition Training
Why do well-trained, experienced players find orchestra auditions so daunting? Why do they frequently fail to succeed? For the following reasons:
- They have not been trained in this unique skill.
- When they fail, they don't know why, so they don't know how to improve their audition skills
- They have no chance to train for this "contest" which requires weeks or months of practice yet must be performed in several minutes.
- Each audition is different, adding fear of the unknown to the already nerve-racking factor of fierce competitionI
Unique Project
Although some conservatories and music schools currently address this
subject, to our knowledge the Audition Training is unique in handling
each of the four above-mentioned problems. Training to take an audition
is very different from practicing for a public concert. These differences
are made clear to the participants and they train accordingly. The constant
feedback from faculty, working with video, sessions of small groups of
participants playing for each other, all make clear to the trainees exactly
what they need to improve. Personal experiences of fellow participants
and question and answer sessions with the faculty give insights into the
various situations which could be encountered at an audition, giving the
students a good idea of what they can expect. This is always a great help
in mastering stage fright - not being confronted with the unexpected.
Masterclasses covering the required repertoire are given by renowned artists
in the orchestral field . Practical experience in the form of mock auditions,
both open and screened, before a jury of faculty members and participants
give many chances to test one's audition skills. By acting as jury, the
participants judge as well as being judged, allowing them to experience
a broader perspective of the auditioning process. The video sessions allow
players to evaluate the quality of their visual as well as their audio
presentation.
II -
GOAL
The Audition Training prepares the participants to present
themselves with confidence and composure to the maximum of their individual
abilities. They learn the special skills needed, they learn to recognize
their mistakes and how to correct them, they have had a chance to play
numerous "mock" auditions, and they have become familiar with
a great many of the pitfalls that they may encounter at an audition, giving
them the knowledge that they are prepared for any situation. This course
gives the participants a solid basis from which to prepare and win an
audition.
Audition Training Sessions
Session 1 Introduction and orientation
Getting acquainted
Explanation of the contents of the course and what will be expected
of the participants
Session 2 First
audition
The first audition will be 5 minutes and will be videotaped.
A fragment of a solo concerto and 3 or 4 short orchestral excerpts
will be played.
Session 3 Discussion
In this session we will handle all the aspects of auditioning.
We will talk about what to expect at an audition,
what are the unwritten rules, how can one change one's nervousness
into positive energy, and so on.
We will talk about the preparation: mental, musical and practical.
How do we cope with failure and pick up the pieces and go on to the
next audition?
Session 4 Video
evaluation
During this session we will form two groups:
violin, viola and cello, bass.
What were the results of the first audition?
Was everyone able to perform well?
Were the players nervous?
What went right? What went wrong? What needs to be improved?
How was the presentation?
Session 5 Presentation
During this session we concentrate on the presentation. We study how
one comes across to an audience (in this case, a jury); is one truly
communicating what he wants to project, does one have any bad habits
which detract from the overal performance, and so on.
Session 6 Screened
audition
Of all the elements of auditioning, this is the one which is the most
difficult to simulate during one's preparation at home. Here each
participant gets two chances to perform behind a screen and to discover
what it is like to be on a jury. We will evaluate both in writing
and orally.
Session 7 Individual
help
This session is reserved for individual help from the teachers. One
can review one's videotapes, ask specific questions about the repertoire,
obtain advice over one's presentation, etc.
Session 8 Mini-workshop
Mini-workshop with an expert in the field of stage presentation. He
or she will discuss body language, posture, tempo of movement, and
whatever other subjects he or she feels are relevant.
Session 9 Final audition
This audition is as true to life as we can make it. A guest jury is
invited and all the repertoire is performed. The audition is videotaped.Session
10 Final evaluation
Each participant meets with the jury individually for a final evaluation.
The participants will be asked to evaluate the course by filling in
a questionnaire for the organizers of the training.
Present and Past Artist Faculty:
David Arben, associate
concertmaster, Philadelphia Orchestra
Nelson Armitano, principal viola, Orchestra of Cordoba (Spain)
Skye Carman, concertmaster, Holland Symfonia (Netherlands)
Ronald Feldman, cello, Boston Symphony Orchestra
Sheila Fiekowsky, violin, Boston Symphony Orchestra
Ralph Fielding, viola, Los Angeles Philharmonic
Arthur Oomans, cello, Royal Concertgebouw Orchestra (Netherlands)
Lynne Ramsey, first assistent principal viola, Cleveland Orchestra
Lynn Kahle Richmond, cello, Rochester Philharmonic
Richard Roberts, concertmaster, Montreal Symphony
Max Roosenstein, principal viola, Rotterdam Philharmonic (Netherlands)
Barry Ross, concertmaster, Kalamazoo Symphony