In the editorial space of Vol. V, No. 1, I discussed some of the problems facing orchestral musicians in the U.S A. and Canada relating to auditioning for professional orchestra positions. I have had a good amount of response to this article which does not surprise me because of the almost universal sharing of the problems of auditions.
Late in 1975 I read with a great interest a survey of orchestra auditions compiled by IDRS member Crawford Best, solo bassoonist of the New Orleans Symphony Orchestra. This article appeared in the newsletter SENZA SORDINO of the orchestral musician's conference group ICSOM. (International Conference of Symphony and Opera Musicians. ICSOM is an official conference of the American Federation of Musicians, North America's international musicians' union for the U.S.A. and Canada.)
I have asked permission to reprint much of the results of this survey in TTWB, and Henry Shaw, Editor of SENZA SORDINO, now has my permission to reprint our audition articles in that publication. I am certain that this exchange of ideas may help a few orchestras to improve the audition procedures they now have and which seem so unsatisfactory.
The ICSOM "Orchestra Audition Survey" was held between 1974 and 1975 with the printed results appearing in SENZA SORDINO, Vol. XIV, No. 2, November, 1975. With assistance in preparation from Frederick Koennig, sociologist at Tulane University, a questionnaire was prepared and sent to delegates of each member orchestra of ICSOM for 1974. Forty-three orchestras are listed as members of ICSOM in 1975, and most if not all of these were members at the time of the auditions survey. These orchestras include without exception every major orchestra in the USA. and many smaller professional orchestras in addition.
With such a large group of musicians participating, and with such a variety of contractual agreements represented (some orchestras having year-round employment with excellent fringe benefits, and others having much shorter seasons with only minor attractive fringe benefits), it is natural to see a wide range of responses to the questions about auditions. However, some clear aspirations for improvement can be seen. And many of the responses indicate concerns of orchestral musicians that auditions be well advertised and run fairly. (These are points which I stressed in Part I, Vol. V, No. 1.)
In addition to circulating this questionnaire, Crawford Best mentioned that two other investigative steps were taken. Several criticisms of orchestra auditions were discussed by interested players from several orchestras (attending the 1975 ICSOM conference). And, the audition sections of many individual orchestra working agreements (legal contracts) were "studied for useful conclusions."
From the discussion of audition criticisms, "Chief among these problems was the large amount of time and expense incurred by auditionees." Although several sources suggested some form of regional auditions, where an auditionee could play for more than one orchestra, and this idea was discussed thoroughly at the 1975 ICSOM conference, the delegates were strongly opposed to the idea for a variety of reasons. In studying individual audition clauses from orchestra contracts, there was a "complex, varied and somewhat bewildering set of prescriptions for committees and procedures." The only pattern of consequence noted was that "many committees defined in contracts are small in size and specified so as to insure the influence of management and/or the music director on the make-up of the committee." Here is an abbreviated form of the questionnaire used, along with comments and results. (Although the exact number of orchestras fully responding to the questionnaire is not indicated, one question was answered by 36 different orchestras. This indicates to me a strong interest in the survey by a broad cross-section of ICSOM orchestras.)
Although this survey covers quite a lot of ground on the subject of orchestra auditions, especially as viewed by members of orchestras (already employed) who are delegates at a conference of orchestra members, I feel that a few more very important aspects of auditions could have been usefully included.
First, I think that a more ideal way to test each orchestra's opinion on these questions would be to have all the members of the orchestras answer the questionnaire, collate and average the responses to each question for the orchestra, and finally determine an official "whole orchestra" answer (based on percentage direction) to each question. I know that this would be a large task and not practical considering the few times in a season that orchestras meet to discuss common problems, including auditions and dismissals. But a clearer picture of a given orchestra's successful or unsuccessful audition procedure would emerge with a full participation in the survey.
Also, I feel that some of the questions discussing the performance and advancement of "successful auditionees," compared with players selected by "other means," would have more relevance if another question were asked: "In the opinion of the majority of members of your orchestra, members of your audition committee, and knowledgeable officers of your local union who are familiar with your contract's audition procedures and the last eight years' record of hiring new players for your orchestra, a) who has the real hiring power: the music director or the audition committee, or a percentage balance between the two (60/40%; 50-50%, etc.)? and b) has the orchestra felt in general that the decisions made on hiring new members (music director, committee or a combination of both) were: excellent, good or bad ?
When a given orchestra can make a determination on these important questions, they should know if the auditioning procedure used by their orchestra is a sound one or if it requires reform through thoughtful revision of the contract provisions.
Although my instrument is Horn, I have for some time been a member of the IDRS, my double reed being my lips! As a former audition committee member in both North American and European orchestras, I was particularly interested in the Editorial Comment regarding Orchestral Auditions (Bassoon Newsletter, 1975, No. 1).
Teachers in the Conservatories, Universities and in private studio teaching are producing a surfeit of qualified applicants for most wind positions, scarcely any position drawing fewer than 100 applicants.
Factors which must be considered in auditions are often difficult to assess, even by the best intentioned persons:
As a principal player, myself, the best section I ever headed was chosen entirely from mail applications; i.e., no auditions were held, and only one of the applicants was previously known to me. Letters of recommendation followed by judicious phone calls chose a section with which it was a delight to work, all the players being now principals or co-principals in other orchestras. The decisions were made jointly by myself and the Musical Director.
Some of us have witnessed situations where "Management" is seeking to create "competition" for an incumbent Principal player. Sometimes, this may in actuality be the only route in upgrading the ensemble: many Orchestra Committee chairmen will testify that often, players are unable, or unwilling, to alter their playing attitudes. Here now, we consider whether or not the Conductor is qualified to make such a decision: Often, we know he is not; sometimes, we know in our hearts that he is! Which takes precedent: artistic integrity or the solidarity of the proletariat? I bring this matter up, since I have witnessed legitimate section positions being manipulated against incumbent Principal players.
I disagree categorically regarding point 4b, regarding preliminary auditioning by tape:
The problem of the cost of players' transportation is, indeed, serious, being a great handicap against players from the West seeking positions in Eastern orchestras, and vice versa. It seems to me that this could best be resolved with a 10 day audition period for all orchestras signatory to A.F. of M. agreements, beginning the 1st of June. This would enable players to make one circuit of the auditions basically on one return air fare. Organized athletics follow a procedure in which all "draft choices" are made simultaneously. Although the music business is not organized m a similar manner with regard to hiring, the uniform hiring period has been proven to be viable.
One serious problem this raises, however, is that it would further increase the already great difficulty that incumbent players have in moving to better positions in other orchestras. Although we are not held captive by a "Roselle" clause, the early signing dates often required in renewing contracts, effectively preclude the player's seeking better competitive offers. Management has a vested interest in maintaining the status quo . It will be necessary for the players to unite and themselves, restructure the entire contract methodology, making overall procedures uniform before a truly adequate solution can be found. Until that time, all revisions in procedure are purely cosmetic.
After more than two decades in orchestral performance, all but one in "major" orchestras, it seems to me that the smaller, less affluent orchestras must emphasize the musical "compatibility" factor I mentioned among the criteria for consideration in auditions. Often, groups of persons who truly enjoy working together will remain contentedly in lower paid positions in return for musical satisfaction, which was a rare commodity during my active performance years.
Personnel policies should both encourage the aspirations of the "young player on the way up," as well as the establishment of an environment which is satisfying from musical and interpersonal aspects, to enable stability through long-term continuity to be established.
No audition, preliminary or final, should be heard in the absence of the Musical Director:
In the case of players who have been refused hearings at auditions, it should be required that "appeals," supported by letters of recommendation by recognized professionals or teachers be considered by an adjudicating committee.
Again, taking a cue from organized professional athletics, Management, in conjunction with the Orchestral Selection Committee, should be encouraged to develop personnel who specialize in "scouting" . . . in order to anticipate expected openings in the orchestra.
Most orchestras, in effect, respond only after the fact, to the need for personnel replacement; this is, from a management standpoint, as well as musically, unwise.
Scouting, of Conservatories, Music Festivals, etc., would uncover potential personnel appropriate to the anticipated needs of the orchestra. Carefully monitored "scouting" would obviate the necessity for endless auditions, as well as the waste of the auditionee's funds. Whether or not one agrees with this principle, I have first hand knowledge of this concept being a matter of practice, and not theory, in one instance: it appears to be most effective.
It should be required that all auditions be played on the concert stage used by the Orchestra in performance; auditions held in varying environments, from the conductor's hotel room to union hall lounges places uneven burdens upon various competitors for a given position.
Should an orchestra decide to hold auditions in a distant city, for an announced opening, adequate acoustic environments should be required . . . the environments provided for the auditions of some of the "lesser" orchestras with which I have been acquainted were deplorable.