I ran across the audition announcement. that includes three different positions for oboists. Guess I should post this on my audition page, eh? I have not been keeping up with that page at all, and I ‘m thinking aobut nixing it entirely, but we’ll see.
It was fun to see the English horn rep; I’ve played all of these works. Most I’ve played more than once. I’ve played the works on the oboe rep pages as well, although I’ve not played first oboe on most of them. I’ve sure had a wonderful career, getting to play so many wonderful works!
And no, I’m not going to audition. 1) I wouldn’t win 2) I’m too lazy!
Here is the rep for EH (you can see the oboe rep by going here):
Seoul Philharmonic Orchestra Auditions 2011
Free Choice of Concerto
Dvorak Symphony No’9 “New World” English Horn solo
Respighi Pines of Rome English Horn solo
Berlioz Roman Carnival Overture English Horn solo
Berlioz Symphonie Fantastique English Horn solo
Debussy La Mer English Horn solo
Ravel Piano concerto in G Major English Horn solo
Rodrigo Concierto de Aranjuez English Horn solo
R.Strauss Ein Heldenleben English Horn solo
Stravinsky The Rite of spring English Horn solo
Rossini William Tell Overture English Horn solo
I’ll post these on my audition page shortly … or maybe I won’t! Maybe I should post all auditions here instead. I’m guessing very few people visit other pages on this site. Hmm.
Central City Opera will hold auditions for Principal Oboe on April 25, 2011. This is a tenure-track position. Candidates will be asked to play oboe and English horn at the audition. Dates for the 2011 season are June 15 through August 7. Deadline to receive deposit checks is April 11, 2011. For information please email a one page professional performance resume to firstname.lastname@example.org.
For information about the 2011 season please go to this link.
ATLANTA SYMPHONY ORCHESTRA
OBOE – English Horn/Oboe
Resume Date: April 1, 2011
Audition Date: May 22-24, 2011
Start Date: August 28, 2011
Contact Information: Applicants should send a one-page resume to: E HORN AUDITION Atlanta Symphony Orchestra 1280 Peachtree Street, NE Suite 4074 Atlanta, GA 30309
DAYTON PHILHARMONIC ORCHESTRA
OBOE – 2nd Oboe
Resume Date: May 9, 2011
Audition Date: June 1, 2011
General Information: 2010-11 service guarantees are 130 for 2nd Oboe and 60 for Bass Clarinet/3rd Clarinet. 2010-11 per service rate is $125.37. 2011-12 guarantees and per-service rates are currently under negotiation. There are also possible opportunities for additional income through the DPO’s education program.
Contact Information: Winning candidates will be required to show proof of US citizenship or a work permit/green card before a contract can be offered. Highly qualified applicants please write to: Jane Varella, Personnel Manager, Dayton Philharmonic Orchestra 109 N. Main St., Suite 200, Dayton, Ohio 45402, or FAX to (937) 223-9189 or email to: jvarella [at] daytonphilharmonic. [dot] com
Fax: (937) 223-9189
Email: jvarella [at] daytonphilharmonic. [dot] com
SPRINGFIELD (MA) SYMPHONY ORCHESTRA
OBOE – Principal Oboe
Resume Date: see website
Audition Date: April 15, 2011
General Information: Kevin Rhodes, Music Director An Equal Opportunity Employer
Contact Information: Find complete information on these auditions at SpringfieldSymphony.org>about us>job openings and auditions or contact Dir. of Operations at:rwendel [at] springfieldsymphony [dot] org
Email: rwendel [at] springfieldsymphony [dot] org Website
& here’s a biggie:
NEW YORK PHILHARMONIC
ENGLISH HORN – ENGLISH HORN/OBOE (1 position)
Resume Date: APRIL 24, 2011
Audition Date: Spring and Fall of 2011
Start Date: mutually agreed upon dates
General Information: Employment to begin at mutually agreed upon dates based on availability of chosen candidates.
Contact Information: PLEASE DO NOT SEND TAPES AT THIS TIME. REPERTOIRE WILL NOT BE GIVEN OUT OVER THE PHONE. Applicants may receive information regarding this audition by sending a one-page written resume to this office. Address resumes to: Carl R. Schiebler, Orchestra Personnel Manager, New York Philharmonic, 10 Lincoln Center Plaza, New York, NY 10023 Website
ENGLISH HORN AND OBOE – 1 position
Employment to begin at mutually agreed upon dates based on availability of chosen candidates.
Applicants may receive information regarding this audition by sending a one-page written resume to this office.
DEADLINE: APRIL 24, 2011
Auditions will be held in the Spring and Fall of 2011.
Application information will be sent upon receipt of resume.
PLEASE DO NOT SEND RECORDINGS AT THIS TIME.
REPERTOIRE WILL NOT BE GIVEN OUT OVER THE PHONE.
LONG BEACH SYMPHONY ORCHESTRA
Enrique Arturo Diemecke, Music Director
Announces vacancies for the following positions:
THIRD OBOE/ENGLISH HORN
Tuesday, April 5, 2011
Submit one-page resume by
Monday, March 28, 2011
Mail resume to
Carrie Holzman-Little, Personnel Manager
Long Beach Symphony Orchestra
555 E. Ocean Blvd., Suite 106
Long Beach, CA 90802
The Long Beach Symphony Orchestra performs six classics, five pops and
one set of four educational concerts per season.
Current Base Salary: Rehearsal $120.15/Performance $157.65
Additional details mailed upon receipt of resume. No phone calls please.
The winning candidate will be required to show proof
of U.S. citizenship or eligibility to work.
As readers know, I don’t “do” auditions at this point in my life. I love my work. I love the groups I’m in.
And I’m way to chicken!
But if I were to write about how to prepare for auditions, I would immediately suggest that children get involved in your prep. Marching is always a great thing to do. And I highly recommend you play while flat on your back. Maybe put your feet up in the air, too. Yeah. I think that would be a great way to prepare!
I have fallen in love with this video:
(I did get permission to post this, and I do know this fine oboist. Just so you know!)
Today, 54 people auditioned for one horn position in the Harrisburg Symphony Orchestra. A few came from Texas, California, Indiana. Most drove from Baltimore, Philadelphia or Washington, D.C.
Before auditioning, people stretched their backs, shoulders, arms, fingers, faces. They stood and breathed, staring at a wall.
“You warm up. You do all the things that make you feel ready. I don’t know how much that actually helps. It might be a mental thing,” said Dan Rader, 23, of Richmond, Va. “It’s a mind game. The whole thing is a mind game.”
I read it here. I was surprised to see so many photos of auditionees. I guess they don’t get anonymity aside from while they play. I do hope they gave the newspaper permission to print the photos. I think I’d be uncomfortable seeing my photo in the paper unless I won!
The nation is bleeding jobs, unemployment stands at almost 10 percent, and lines run long at job fairs. But in one microscopic sliver of the economy, the pickings are rich: major orchestras.
Next season the New York Philharmonic will have a rare 12 openings, or roughly 12 percent of its instrumental work force, thanks to a confluence of retirements, departures for better jobs and long-unfilled positions. The Boston Symphony Orchestra has 10 vacancies, the Chicago Symphony Orchestra 9, and the Los Angeles Philharmonic 7.
Elsewhere the Cleveland Orchestra has four full-time job openings and one part-time. The Philadelphia Orchestra, Pittsburgh Symphony, San Francisco Symphony and Dallas Symphony each have three openings.
This week some of the wind section of the San Francisco Opera not only dealt with their grueling schedule of performances, but they also listened to the oboe auditions for principal oboe. (How they managed to get any sleep is a mystery to me.) They chose an oboist, and from what I hear we are in for a treat! Here’s the info:
Mingjia Liu, a 22 years old, currently 1st oboe in Kansas City Symphony and Oberlin student, where he studies with Robert Walters & Alex Klein. He also studied with Liang Wang’s uncle in China.
I hear he has incredible chops and (most important to yours truly) plays very expressively.
I’ve attached the flyer to the Mozart Youth Camerata below.
I can’t encourage students enough to audition for this group! I got my start in youth chamber orchestra. It “grew” me musically in ways nothing else can, including the larger youth orchestra in which I also participated. This MYC is primarily for strings, but but advanced, gifted wind players are wecome to apply as well.
Here’s the flyer (Wish I were smart enough to figure out how to have it appear here, but … well … you’ve probably read this blog enough to know I’m just not that smart!)
Jauvon Gilliam, for seven years a timpanist with the Winnipeg Symphony Orchestra, really, really wanted to win the vacant timpani position with the National Symphony Orchestra when the opening was announced last year. So he rented a minivan, packed up his drums and drove 26 hours across the country to audition. He got called back and made the drive a second time.
To make sure he was mentally prepared, he called up timpanists in major American orchestras along the way and asked if he could play for them. He wanted to get used to playing nervous, in unfamiliar situations. The first two attempts went terribly. The next two went much better. And by the time he got to Washington, he was in great form. He was the orchestra’s unanimous choice for the position.
“I do feel blind auditions are desirable, because, at the end of the day, if I succeed or fail, I have no doubt it’s because how I played,” Scruggs says. “Orchestras need to have a little bit of faith that a fair audition process will uphold artistic standards.”
The oboist points to the Metropolitan Opera Orchestra in New York as an example.
“To my knowledge,” he says, “that’s the only one that holds truly blind auditions, where the winners are accepted before the applicants are ever seen. They have a black principal clarinetist, a black principal trumpet, and a black second trombone. And it’s one of the best orchestras in the world.”
Not true any longer, actually: recently San Francisco Opera kept their entire audition behind the screen. I think this is a new practice for them. With us “little folk”: Symphony Silicon Valley does everything behind the screen, as did San Jose Symphony (RIP) before our demise. I used to fight this idea (for reasons other than race, believe me!) but I’ve decided it really is for the best. The tenure review process can deal with issues we might run into once a player wins an audition.