Auditions

Practicing, Some Practice Advice (Part 2) — by Michael Haber

Frustration and Discouragement, Orchestra Auditions, Some Final Thoughts, a Final Comment   FRUSTRATION AND DISCOURAGEMENT: Now is the time to talk about our number one enemy. When I look back over all my teaching, one observation stands out above all others. It has not been a lack of talent or intelligence which stood in the way of progress for most students. It has rather been the fact that many people become both frustrated and discouraged by the amount of work and the unwavering discipline and persistence it usually takes to become an excellent musician. I have something simple to say on this subject: frustration and discouragement have been the common lot of most of the musicians I've known, born of the eternal gap between our dreams of how we want [...]

Pacifica Quartet Announces First Personnel Change in 17 Years

Reposted from The Violin Channel. The Pacifica Quartet has announced 2nd violinist Sibbi Bernhardsson and violist Masumi Per Rostad are set to leave the ensemble. The Indiana-based Pacifica String Quartet has today announced that 2nd violinist Sibbi Bernhardsson and violist Masumi Per Rostad are set to leave the ensemble at the end of the current season—the group’s first member change in seventeen years. Sibbi, who joined the quartet in 2000, is set to take up a teaching position on faculty at the Oberlin Conservatory School of Music. Masumi, who joined the ensemble in 2001, was last month appointed to the teaching faculty of the Eastman School of Music at the University of Rochester. “Over the past 17 years, the Pacifica Quartet has played nearly 1500 concerts all over the world  … [...]

Preparing for Cello Auditions as a High School Senior — by Drew Cone

Applying and auditioning for schools can be really scary at times, but it doesn’t have to be. I’ve been working on my repertoire for auditions for well over a couple of months now and throughout that time, I’ve learned a few things when it comes to preparing for college. Now, just to clarify, I’m no expert on this stuff; I just thought that maybe if someone if my position had any questions needing answering, it might be nice to hear from another person in the same situation, especially since I’ve already recorded most of my prescreenings and have that experience under my belt. Even if it’s a tiny tip that helps, I hope that this could help out people my age with the same aspirations! Prescreenings The nice thing about [...]

By |2018-08-23T16:49:12+00:00October 31st, 2016|Categories: Auditions, High School Blogs|Tags: , , |

Exploring Beethoven’s Fifth: Second Variation — by Jonathan Pegis

Picking up where we left off last time, at the conclusion of variation 1 it is a good idea to keep counting in between the two variations.  You want to play this second variation in the exact tempo as the theme and first variation.  I will say right at the outset that there is no ideal fingering for this excerpt!  It just doesn’t lie well on the cello.  My fingering is a bit unusual in that I do not use the thumb at all, or any open A strings.  I do, however, use the A string for some of the notes.  I highly recommend not playing the open A just because it tends to really stick out.  Many cellists don’t use the A string at all which is also fine [...]

Playing Audition Excerpts: Yes, the Devil’s in Them — by Brant Taylor

Although the collection of excerpts on an audition repertoire list may seem arbitrary, each one has a purpose: giving the audition candidate an opportunity to demonstrate certain things about his or her playing and artistry. Audition success involves showing a command of certain basic elements—such as rhythm, dynamics, intonation and articulations—as well as conveying a nuanced understanding of the music and the composer. A well crafted audition list will include excerpts that emphasize each of these elements, and a candidate’s ability to demonstrate control and understanding of them will determine his or her chance for success. Let's put these goals into concrete terms using a common cello audition excerpt as an illustration—the opening of the second movement of Brahms' Symphony No. 2:   Brahms Second Symphony, 2nd Mvt. [...]

Competitions ≠ Success: A Student Perspective — by Lev Mamuya

Not all competitions are created equal. There are good ones and bad ones, and good and bad reasons for entering. Many kids are raised to be competitive, both musically and in school. Kids can feel pressure to do competitions from parents, teachers and peers. Sometimes it is easy to fall into the trap of thinking success can only be measured by winning competitions and that a career in music and admission to a good school are impossible without numerous wins. Competitions are good for many things, but they should not define success. They often consist of just one performance, on one particular day; success is something you achieve over many years through work and dedication. Since most competitions, at the most, will be three rounds over a short period of time, [...]

The F-Word — by Aron Zelkowicz

“Do you play with a regular ensemble?” the lady at Kinko’s asked me. Lately I’ve noticed this to be one of the routine first questions that new acquaintances throw my way, especially in New York.  My theory is that music aficionados latch on to this question, while novices (often in airports, as we can all testify) tend to focus on the size of the cello case and the hilarity of imagining something else inside it: an AK-47, King Kong’s tennis racket, mother. In this instance my cello was not with me, but the scraps of dissected scores scattered across the work station easily gave away my vocation. She asked, “Do you play with a regular ensemble?”, which is exactly the wording that gets me like a deer in headlights. The [...]

Defining the Intangible — by Melissa Kraut

Several years ago I was asked to contribute to an article for Strings Magazine on "what teachers look for in an incoming student."  I was excited about the article—what a fantastic idea—a compilation of suggestions from teachers who listen to 100+ cellists a year auditioning for music schools!  Despite my best intentions, I still haven't crafted a contribution. (Here is where I should publicly apologize to the cellist, who is no doubt reading this entry, for the 3 year delay in responding to your request).  My neglect  was not for lack of interest, or lack of knowledge or experience on the subject.  It came down to the difficulty in putting words to something that  is so nebulous—defining the intangible.  The title for this entry popped into my head during audition [...]

Putting Your Best Foot Forward in Auditions — by Yeesun Kim

Let's face it. A musicians life is full of auditions.  Even when you might not be taking a formal audition, each concert may turn out to be an audition for your next project. For many students, February in particular is a busy, stressful month filled with college auditions, summer festival auditions, recital juries and so forth. When you are a beginner, auditions generally represent a relatively encouraging nudge of  "Do your best." Later, they have greater consequences, and dealing with the pressure can become quite torturous.  Some are more at ease than others, but I believe it is safe to say that auditions are not activities anyone particularly enjoys doing. Of course listening to auditions is not so easy either.  One is asked to sit through 7-8 hours per day [...]

Two Minutes of Your Time — by Brant Taylor

Early in 2011, the Chicago Symphony Orchestra will hold auditions hoping to fill two vacancies in our cello section.  In my twelve years of hearing auditions as a member of this ensemble, hundreds of cellists have presented themselves on our stage. Some have done so several times. Their audience is a committee of nine members of the orchestra who sit behind a screen in our otherwise-empty hall.  Some of us take notes during the performances, but the only thing that matters to the process is the simple "yes" or "no" each committee member marks on a blank index card after every player has finished. If a candidate receives at least six "yes" votes in a preliminary audition, he or she advances to the final round.  To those unfamiliar with the [...]