Many of you may not have been aware that over the past two weeks I’ve been preparing for an audition for the Seattle Symphony this past weekend (April 19-21). The orchestra had two vacancies, for Assistant principal (2nd chair) and section.

As a relatively young person (38) but also a person who is a good deal older than most active auditioners (mid to late 20’s), I have been wondering about my competetiveness in the audition scene these days. Over the past five seasons for so I’ve taken two auditions, both for the Philadelphia Orchestra, and I did not progress beyond the preliminary rounds. I’ve written about this before, but being in your late 30’s to late 40’s in an orchestra is a confusing time. You’re not one of the hot young turks who’ve beat out dozens of other hot prospects to win the latest audition, but you’re also not one of the elder statesmen who are a few years away from hanging up the axe, either. Often, you’re at the top of your game - at that crucial juncture where your experience has caught up with your technique, and your technique hasn’t yet begun to fade. In short, it’s that time when you’re prone to worry about your usefulness and how your skill set really compares with the younger set, and it has brought on many a mid-life crisis (a bit early, I know) for many an orchestral musician.

So when the opening in Seattle came up, I immediately applied, figuring that it would be a good test of where my playing is at these days. It’s no secret that playing in an orchestra can take its toll on your level of playing - intonation suffers, rhythm can become a bit soft - all because you’re playing with 85 other musicians who all have varying degrees of both pitch and rhythmic accuracy. The great violinist and concertmaster Joseph Silverstein famously remarked that one must practice three hours for every hour spent in an orchestra, just to negate the effects of playing in an orchestra - and in his case he was referring to the Boston Symphony!

The crazy thing about my deciding to do this audition was that I’d already scheduled a major recital for 10 days before the audition date, and all of my attentions were going towards the recital, the excerpts would get their due after the recital was over, and not before, aside from doing some cursory reviews of fingerings and bowings of the excerpts.

I’d never devoted so little time to an audition before. My usual routine was to start in-depth practicing about 5 weeks out from the date of the audition, using that lead time to play for colleagues and possibly a prior teacher and do mock auditions to work out the kinks. I’d have no time for all of that this time around. I hadn’t made it out of the prelims since the Minnesota assistant principal auditions of 1999 or 2000, so I was anxious at least to make it into the semi-final round. That was as much as I was willing to hope for. If I could show I was still competetive, then I would be satisfied.

The 10 days between my recital and the audition were murder - especially the two days after the recital. There is a syndrome well known to all musicians: it’s called the post-recital slump. You get up the morning after a recital and you are unable to make a good sound, play a whole-note in tune, or get your fingers to move much faster than a quarter-note. This is not where you want to be 10 days before a major audition! I was thrown into a deep pit of despair, but diligent work - even when it hurt like hell to the very core of my soul - brought me back to where I’d been before the recital. It’s a mysterious phenomenon, but working when you least want to and pushing through the inevitable dips of the performance cycle is the quickest way I know to acheiving real progress.

So anyway, I worked up my three solo pieces (Bach d minor Prelude, Hindemith Der Schwanendreher 1st mvt, and Mozart Sinfonie concertante 1st mvt) and the collection of solo and tutti orchestral excerpts that made up the list. Some never felt too bad, others resisted all best efforts to tame them, and so it was a mixed bag in my excerpts quiver as I drove up to Seattle this past Friday afternoon.

To be continued…

This message has been edited. Last edited by: Charles Noble,

As a 'mature' orchestral player (40ish trombonist - hey, I even play alto clef Charles!)who has done auditions in the last few years, I'm loving this. Can't wait for the next installment.

quote:

As a relatively young person (38) but also a person who is a good deal older than most active auditioners (mid to late 20’s), I have been wondering about my competetiveness in the audition scene these days. Over the past five seasons for so I’ve taken two auditions, both for the Philadelphia Orchestra, and I did not progress beyond the preliminary rounds. I’ve written about this before, but being in your late 30’s to late 40’s in an orchestra is a confusing time. You’re not one of the hot young turks who’ve beat out dozens of other hot prospects to win the latest audition, but you’re also not one of the elder statesmen who are a few years away from hanging up the axe, either. Often, you’re at the top of your game - at that crucial juncture where your experience has caught up with your technique, and your technique hasn’t yet begun to fade. In short, it’s that time when you’re prone to worry about your usefulness and how your skill set really compares with the younger set, and it has brought on many a mid-life crisis (a bit early, I know) for many an orchestral musician.

WELL SAID!!! That's exactly how I feel, also at age 38...not a "young turk," but also "not one of the elder statesmen." Perfect way to word it. Love your accounts of the audition, thanks for sharing!!! Congrats on making the final round!

Thanks - it was a good experience overall, though having the gig would be the best outcome!

I am a 38-year old oboist. I got my BM from the New England Conservatory and my MM from the Cleveland Institute. I really burned out taking auditions (even though I only took 7!) and took about 7 years off never really planning on playing again. I have recently started back up again and I can't believe it but I can still play all the stuff I played before. I really want to make up for lost time and start taking orchestral auditions. I now have 2 little girls and a full-time job (work from home) so I don't even know how feasible this is. However, I have to say, I think I sound pretty good and really don't see myself any worse a player for the time away. In fact, it has probably made me better since I have some perspective. Is there any hope for an almost-40-year-old to get an orchestral job??? They are behind a screen after all so if you play well there should be no age issues, right? Anyone out there with thoughts on this? Thanks!

We hired a new principal oboist (Martin Hebert) this past year who is over 40 - I heard of no concerns about his age at the time of his audition.

Oboe I - my history is somewhat similar to yours. I graduated over 20 years ago, took a larger number of auditions then you did, never got a fulltime job and gave up trying in my late 20s. After a pretty succesful business career I got the playing bug again about 5 years ago. I went to a couple of players that I trust a lot to get their views on my playing and I proceeded to hit the circuit again. I pretty quickly got sub work with a number of orchestras, got past the first round in auditions in Canada and Australia and on my 3rd try I won a job here in New Zealand. About a year later I won a job with a much better orchestra and I'm loving my work like I never have in my life. Mine may be an unusual story but it does demonstrate that there is hope. Don't die wondering!

My experience nearly mirrors oboe1's. Took time off to start my family and now am back into the playing game after nearly a decade. My mini-goal was to achieve my playing level before I took the break, then to surpass it. I've achieved it (in my opinion). Now, with two kids (tweens), a miserable but necessary full-time job (not music-related), it's proving to be a challenge to get my name out there. But it's happening, slowly but surely. Any pointers to speed up that process (getting my name out there) from anyone?

Charles,
I am wondering what kind of experience your new principal oboe had or was he just an unknown that needed to become known?
W2

Marty was principal oboe in the Florida Orchestra prior to coming here.