Help me write about a violin audition gone bad
July 10, 2011 8:13 AM Subscribe
I'm writing a short story about a violinist. In it, I want her to fail an audition for an orchestra. Specifically, I'm thinking she is a recent college graduate who would be auditioning for a training orchestra such as the Chicago Civic Orchestra. So my question is two part. What piece would she be playing? And what mistake could she make that would be bad enough to fail the audition?
Chicago Civic publishes their audition repertoire (pdf). She wouldn't be playing anything not on that list, typically.
Not getting into an orchestra of that level can be caused by making any kind of mistake all the way down to no mistakes at all. At that level nobody is missing notes or playing with a bad sound; they're largely judging on the basis of fine points of intonation, consistency (eg, you played all the right notes but were all your staccato notes exactly the same length?) Most people auditioning for something like that will be one of the strongest players on their instrument at their school/conservatory.
When I won a similarly-scary fellowship (trumpet at Tanglewood Music Center) they read us our audition sheets when we got there. All 5 of us had sheets that said, in their entirety: "Fine. OK. Fine. 9/9 points. Recommended to orchestra." He explained that 400 people auditioned, everyone played well, but the first excerpt on the list started with two octave C's and we were the only 5 people to play that interval "actually in tune" (as opposed to, say, a couple of cents out), and at that point the committee basically stopped listening because if we could get something that nitpicky right we would probably do everything else right too.
posted by range at 8:35 AM on July 10, 2011 [9 favorites]
Not getting into an orchestra of that level can be caused by making any kind of mistake all the way down to no mistakes at all. At that level nobody is missing notes or playing with a bad sound; they're largely judging on the basis of fine points of intonation, consistency (eg, you played all the right notes but were all your staccato notes exactly the same length?) Most people auditioning for something like that will be one of the strongest players on their instrument at their school/conservatory.
When I won a similarly-scary fellowship (trumpet at Tanglewood Music Center) they read us our audition sheets when we got there. All 5 of us had sheets that said, in their entirety: "Fine. OK. Fine. 9/9 points. Recommended to orchestra." He explained that 400 people auditioned, everyone played well, but the first excerpt on the list started with two octave C's and we were the only 5 people to play that interval "actually in tune" (as opposed to, say, a couple of cents out), and at that point the committee basically stopped listening because if we could get something that nitpicky right we would probably do everything else right too.
posted by range at 8:35 AM on July 10, 2011 [9 favorites]
One way for her to fail it is simply by being a her. Gender bias, especially in the glamour instruments like violin, is so pervasive that many orchestras now hold auditions where the performers sit behind a screen so that the person evaluating them doesn't know their gender.
posted by tkfu at 8:54 AM on July 10, 2011 [3 favorites]
posted by tkfu at 8:54 AM on July 10, 2011 [3 favorites]
The violin part from R. Strauss's Don Juan is a fairly standard, flashy violin audition excerpt. The high-range stuff is particularly difficult to get in tune.
posted by Johnny Assay at 9:05 AM on July 10, 2011
posted by Johnny Assay at 9:05 AM on July 10, 2011
As per your second question - making a mistake is not generally what would cause a person to fail to get a gig. It's more about the quality of the playing, in general.
It would be more realistic to simply say she gave a mediocre performance overall.
posted by nosila at 9:56 AM on July 10, 2011 [1 favorite]
It would be more realistic to simply say she gave a mediocre performance overall.
posted by nosila at 9:56 AM on July 10, 2011 [1 favorite]
I have nothing to add about violin playing specifically, but I wonder if at the level something like personality or social style conflicts could also play a role in losing an audition. I would think it would be a pretty tightly knit group for the most part, so playing flawlessly might not be the only factor?
posted by Glinn at 10:39 AM on July 10, 2011
posted by Glinn at 10:39 AM on July 10, 2011
I was once a musician (pianist, and classical and jazz saxophonist) who auditioned for top groups, solo contests and the like. I mostly (well... always) won on saxophone, but not on piano, which is similar to the prestige and competivity of violin, i.e. loads of people play the instruments, there aren't enough spaces for all of them, and the best players start when they're two or three, practice several hours every day ever since, stuff like that.
I'd say that on violin, yes, even one mistake will get you out. On saxophone, which is less competitive, it's judged much more on the quality of your playing, interpretation, dynamic range, intonation, breathing, that sort of thing. On piano (and violin) there's the additional expectation, since you're going up against people who've lived and breathed their instrument for 98% of their lives with the full intention of making careers out of it, that you won't make any mistakes.
It can depend on the group, however. I did best on piano in situations where they were looking for interpretative quality versus technical flawlessness, for instance. And those were generally the groups/concerts/accompaniments I wanted to get, since, in my personal opinion, the stratospheric technical demands of others tend to remove the soul from music in favor of "holy shit s/he can move her fingers really fast without flubbing". Violin is a lot like that too.
posted by fraula at 10:57 AM on July 10, 2011
I'd say that on violin, yes, even one mistake will get you out. On saxophone, which is less competitive, it's judged much more on the quality of your playing, interpretation, dynamic range, intonation, breathing, that sort of thing. On piano (and violin) there's the additional expectation, since you're going up against people who've lived and breathed their instrument for 98% of their lives with the full intention of making careers out of it, that you won't make any mistakes.
It can depend on the group, however. I did best on piano in situations where they were looking for interpretative quality versus technical flawlessness, for instance. And those were generally the groups/concerts/accompaniments I wanted to get, since, in my personal opinion, the stratospheric technical demands of others tend to remove the soul from music in favor of "holy shit s/he can move her fingers really fast without flubbing". Violin is a lot like that too.
posted by fraula at 10:57 AM on July 10, 2011
One vehicle for her to screw up (without actually being a bad player or making a technical error) might be via the choices she makes vis-a-vis the cadenza. Depending on her personality she might over-reach, incorporate a risky styling or musical joke that falls flat, reference a cadenza written by someone else that the judge loathes, etc. Towards Glinn's comment about personality, a cadenza reveals a lot about a player.
posted by carmicha at 11:22 AM on July 10, 2011 [2 favorites]
posted by carmicha at 11:22 AM on July 10, 2011 [2 favorites]
But to give a f'rinstance, her strokes could be too light or too heavy.
Similarly, a friend of mine choked on an audition by playing too mechanically.
posted by desuetude at 1:09 PM on July 10, 2011
Similarly, a friend of mine choked on an audition by playing too mechanically.
posted by desuetude at 1:09 PM on July 10, 2011
I'm a former symphony musician who has listened to my fair share of auditions. The number one thing that will get you thrown out of an audition is poor rhythm. And it is shockingly easy to make rhythm mistakes when you are nervous.
posted by Tholian at 1:19 PM on July 10, 2011
posted by Tholian at 1:19 PM on July 10, 2011
Ditto Tholian's post. Auditioning for an orchestral position is different than the expectations for a soloist. Of course any top-level orchestral musician can solo; but you want to know that the person can also be a group member. Intonation, rhythm, counting, following the markings in the music- all the things that a good "team player" has to excel in. You are part of the whole and have to fit that particular orchestra's tonal aesthetic.
Perhaps you can have her fail because she's too good? Meaning, she wows them with expressive virtuosity, lots of dramatic body movements, dips and leans; she's flashy and exciting and they feel she will not be able to fit into the group?
posted by I_Love_Bananas at 2:03 PM on July 10, 2011
Perhaps you can have her fail because she's too good? Meaning, she wows them with expressive virtuosity, lots of dramatic body movements, dips and leans; she's flashy and exciting and they feel she will not be able to fit into the group?
posted by I_Love_Bananas at 2:03 PM on July 10, 2011
Response by poster: Thanks for all of the wonderful suggestions. Lots to consider. Tholian, when you say poor rhythm, you mean she would loose the tempo? Playing too fast or too show?
posted by guitareste at 3:23 PM on July 10, 2011
posted by guitareste at 3:23 PM on July 10, 2011
Typical problem when nervous would be a shaky bow hand, making soft passages sound like a stutter.
posted by Namlit at 3:45 PM on July 10, 2011
posted by Namlit at 3:45 PM on July 10, 2011
Blair Tindall in her book, "Mozart in the Jungle", describes some of her failed auditions as an oboeist. (One was for playing a single wrong note.)
posted by Melismata at 5:25 PM on July 10, 2011
posted by Melismata at 5:25 PM on July 10, 2011
Former cellist here. I agree with the "too mechanical" idea.
The only issue with the "too good"/"too flashy" idea is that many orchestras (including the midrange orchestra here in Madison) conduct blind auditions behind a screen, as tkfu mentioned above. This is done to shield the identity of the player so as to judge the player on skill/merit alone (and not hire only, say, men or the conductor's cousin). However, she could still possibly be too effusive musically. Playing a little bit rough, too expressively (too flexible with the tempo -- slowing down and speeding up for drama), stuff like that.
posted by Madamina at 5:26 PM on July 10, 2011
The only issue with the "too good"/"too flashy" idea is that many orchestras (including the midrange orchestra here in Madison) conduct blind auditions behind a screen, as tkfu mentioned above. This is done to shield the identity of the player so as to judge the player on skill/merit alone (and not hire only, say, men or the conductor's cousin). However, she could still possibly be too effusive musically. Playing a little bit rough, too expressively (too flexible with the tempo -- slowing down and speeding up for drama), stuff like that.
posted by Madamina at 5:26 PM on July 10, 2011
The concept of "poor rhythm" would be somewhat relative to the piece. It can be difficult to judge or gauge that aspect of playing when it's just a solo. A single player has more latitude in that regard. Just plain not being prepared is bad enough, where the auditioners will be able to tell (because they have heard these pieces a million times) when someone is just sluffing through it or otherwise unprepared. Even then, they could recognize talent amid bad habits and still hire the person, provisionally even, to see how they fit in with the rest of the section.
Also, without knowing how this particular orchestra operates, they may require a pre-screening audio or video prior to the "live" audition. Then when they come in, their playing would be recognizable by such experts. They would be able to tell if the tape matched the person in front of them. Even if this orchestra doesn't require a pre-tape, you could write it that way. And then have your character clearly NOT be the person on the tape... they could "fail" her for being a fake??
posted by I_Love_Bananas at 6:55 PM on July 10, 2011
Also, without knowing how this particular orchestra operates, they may require a pre-screening audio or video prior to the "live" audition. Then when they come in, their playing would be recognizable by such experts. They would be able to tell if the tape matched the person in front of them. Even if this orchestra doesn't require a pre-tape, you could write it that way. And then have your character clearly NOT be the person on the tape... they could "fail" her for being a fake??
posted by I_Love_Bananas at 6:55 PM on July 10, 2011
Poor rhythm would have more to do with internal rhythmic integrity, not so much picking the right tempo. It basically breaks down into two kinds of error -- one where you don't maintain a consistent beat (eg, you speed up or slow down, however slightly, as you go), and the other where you don't maintain the internal subdivision of the pulse.
The trouble with most of these is that errors so subtle they wouldn't get picked up by a normal audience member are big enough to get you bounced out of an audition for a group as good as Chicago Civic (and would get you killed at the tape round for, say, the NY Phil).
One of the issues here, by the way, is that from the standpoint of a pro musician, failure is the expected outcome of an audition -- hundreds of people audition for a single slot, and that math means that the outlier is winning. A guy I knew out at Tanglewood is now one of the principal trumpets of the Metropolitan Opera. Before that audition he was openly contemplating quitting the instrument because he had lost, badly, at so many consecutive auditions (for far lesser orchestras). The former 2nd horn of the Boston Symphony lost over 40 auditions before getting a gig.
This is all just a long way of saying that losing a single audition is not typically a source of a lot of drama for a professional musician; it's just part of the job.
posted by range at 7:32 PM on July 10, 2011 [1 favorite]
The trouble with most of these is that errors so subtle they wouldn't get picked up by a normal audience member are big enough to get you bounced out of an audition for a group as good as Chicago Civic (and would get you killed at the tape round for, say, the NY Phil).
One of the issues here, by the way, is that from the standpoint of a pro musician, failure is the expected outcome of an audition -- hundreds of people audition for a single slot, and that math means that the outlier is winning. A guy I knew out at Tanglewood is now one of the principal trumpets of the Metropolitan Opera. Before that audition he was openly contemplating quitting the instrument because he had lost, badly, at so many consecutive auditions (for far lesser orchestras). The former 2nd horn of the Boston Symphony lost over 40 auditions before getting a gig.
This is all just a long way of saying that losing a single audition is not typically a source of a lot of drama for a professional musician; it's just part of the job.
posted by range at 7:32 PM on July 10, 2011 [1 favorite]
This thread is closed to new comments.
posted by Kattullus at 8:28 AM on July 10, 2011