With the generous help of two outstanding wind instrumentalists, the Association of Canadian Orchestras has been visiting music schools and conservatories throughout Canada this early Spring. The aim has been to help explain the advantages and disadvantages of orchestral life, the nature of auditions, how to prepare for them apply to take them, and how to perform well when "on stage". Ronald de Kant, solo clarinetist of the Vancouver Symphony Orchestra, personally visited Western Canadian schools; and Christopher Weait, co-principal bassoon in Toronto covered the Eastern schools. This article briefly outlines a fine morning talk given by Chris Weait at my school, the University of Ottawa.
On hand to assist Chris and the university students was Ms. Wendy Reid of the Association of Canadian Orchestras. Ms. Reid provided much printed information on actual audition procedures, addresses of valuable musical trade publications in Canada listing openings in orchestras, and contacts in all the Canadian orchestras.
Mr. Weait opened his discussion with an over-all description of what it is like to be a professional orchestral musician in Canada. He described the variety of performing experienced by orchestral players (concerts, broadcasts, recordings, tours, pops and park concerts, etc.), the nature of the work (limited rehearsal requiring great sightreading skill, intense concentration and great idealism of conductors and colleagues, opportunities to meet members of the musical fraternity throughout the world, opportunities to play under great musicians and with great artists as soloists. And some of the disadvantages: generally low salaries for such highly skilled and difficult work, touring away from home and families, musicians' tendency to be unbusinesslike and therefore vulnerable in negotiating advances, etc.) All in all a truthful and evenly presented picture of orchestral life here.
Advice from Chris on preparation for actual auditions followed a helpful list of effective ways to prepare letters of application and résumés, presented by Wendy Reid .
Chris Weait urged musicians starting out on the audition circuit to: obtain audition lists from the orchestras with openings -- then find the music (actual parts whenever possible, not just excerpts . . . mentioned that Kalmus sells individual parts to many standard repertoire items); look for errors in parts (and especially excerpt books) -- compare parts with scores; write out important solos in an audition notebook; practice all the hard passages often -- other solos frequently; attend concerts and learn about styles and standards of performance from them; play in as many ensembles and performances as possible; practice; maintain instrument(s) in top shape -- have them serviced on a regular basis (the professionals all do); learn your own work habits and improve on them; be prepared for the psychological hazards: nerves, rumors about auditions, others wanting to "psyche you out", etc.; expect to take several or many auditions before being selected for a position (this is normal).
Next Chris described "what the committee is looking for" (auditioning committees): consistency -- personal stability -- flexibility (players must be able to change style or anything at the request of a conductor) -- self-confidence -- metric accuracy -- good, pleasing sound -- excellent rhythmic sense -- a strong (wide) dynamic range -- good intonation.
Advice for successful candidates: "if you are offered a job, take it for the experience"--keep a job (especially the first one) for 2 years at least (to show dependability); practice to keep your job; "you'll be surprised by how much you develop after graduation. "
For those who don't make it right away: keep playing -- don't be too discouraged, many players have had to wait for a long time before a good opportunity materialized; there is good benefit in (brief) military service (bands/orchestras) because these develop professional skills; remain available (let your teachers and other professionals know that you are at the ready. Many professionals are contacted to recommend players for various positions, temporary and sometimes full time); "runners up sometimes get the job" -- sometimes a selected player cannot accept the position for any of various reasons -- then the runner-up is often offered the job immediately; also be sure to mention on your next applications if you placed "runner up" in an audition -- this means a lot.
At the end of Mr. Weait's talk a question period was held on specific points of interest to students. Chris was completely up to date on all items--from string players as well as the (ubiquitous) wind instrumentalists. Incidentally, Chris pointed out one of the chief flaws in North American conservatory training: string teachers do not prepare their students for orchestral careers--just solo repertoire and chamber music. Yet there is a crying need for excellent string instrumentalists, and there are so few solo artist or string quartet positions available.