This was the first occasion of open auditions for the position of a principal wind position for a one year vacancy due to a leave of absence, which would run from August 30, 1982 until August 28, 1983. Our contract reads that the symphony society will grant a year's leave of absence contingent upon finding a suitable replacement. The preliminary auditions by contract were behind a screen and heard by principal woodwinds, members of the section involved and the conducting staff, minus the music director. This gave us a committee of 7, since one of the members of the bassoon section who opted to play for the position was eliminated from the audition committee. Final auditions would be heard by the same committee with the addition of the music director. This had to be delayed until the following evening due to the late arrival of the music director. Although the music director made the final decision, he had consented not to hire anyone that was rejected by the full committee. The auditions were to be held Oct. 13-14th, 1981. It was felt that auditions should be held quite early in the season so that the applicants would have sufficient time to arrange to be away from their present position for the year. The announcement made in the August International Musician was limited to applicants who had principal bassoon playing experience. It was felt that the player would not be able to work into the principal position in a years time and should already have the necessary experience for the job. We received applications from 60 bassoonists, and these were screened by the bassoon section with consultation from the other committee members. The players accepted for the audition were sent particulars and the list of repertoire. Those not accepted by the committee were informed that their qualifications were not up to the position, but because the symphony was an equal opportunity employer they could appeal this decision and, in the final analysis come and play if they wished. We had several appeals and 16 players were invited by the committee. (In all 24 players were scheduled to audition but only 17 were actually heard.) The complete repertoire for the audition was as follows:
The exact passages to be played were sent to the participants so that they would all have an equal opportunity to prepare the music. The audition materials were designed to meet varied styles, and modes of playing, i.e., high, middle, low register, pianissimo, legato lyrical staccato, and long lyrical playing as in the Vespri. (This excerpt turned out to be the most revealing as to intonation, vibrato, legato, musical style.) The excerpts that were asked in the prelims were . . . Mozart Concerto, part of 1st movement only. Bolero, Tannhauser, Vespri Siciliani, Bartok Dance Suite, Shostakovich 9th, Beethoven 4th and Till Eulenspiegel. Each participant played the same amount of music, the same excerpts and a portion of the concerto. And after each group of 4-5 players had played the committee voted on which to invite to the finals. At the end of the day 4 players were asked to remain plus the one player from the bassoon section who by stipulation in our contract was automatically in the finals. The following evening the committee assembled with the music director and listened to the 5 players. They played the same list of excerpts as in the prelims. Again the committee voted and decided that 2 players would be asked to return and play the Sicilian Vespers and any other excerpt requested. Qualifications used in the decision were: tone that would blend with the rest of the section, authority of style, intonation, and amount of principal playing experience. The final decision was a unanimous one and the myriad of hours spent by management and musicians, and the anguish and anxiety and expenditure of money by the participants had come to an end. It is my hope that in the near future some method can be developed, perhaps between ICSOM and the management to create some sort of musicians pool, where auditions can be held at a central point so that the present situation of the audition circuit can be minimized and reduce the number of players at the final auditions. The present system is a burden on both the audition committees and the auditioners both in time and money.
(As announced in the December 1981, Double Reed, Nancy Goeres, a student of Dick Lottridge and Sherman Walt, was the successful applicant for this position, Ed.)