A Dislclaimer, of Sorts

November 14, 2007 at 9:22 PM

Thank you all for responding to my post and taking the time to read the articles that were linked.

The audition process has always been a subject that raises the hairs on everyone's necks - I myself have, during the past twelve years (three of which included graduate school, followed by two years with the New World Symphony - where we had regular audition training workshops and seminars), heard much discussion, during which people have echoed both Ms. Alsop's thoughts. My reason for referencing Drew McManus (a fine man, one who is incredibly knowledgeable and - to say the least - always informed regarding contract negotiations and the "ins and outs" of orchestral management) was due to MY not knowing the following:

"1. There are no laws, rules, or enforceable regulations dictating how professional orchestras must implement their audition procedures.
2. In the early 1980s, the American Federation of Musicians, the International Conference of Symphony and Opera Musicians, and the Major Orchestra Managers Conference (the latter having been rolled up into the American Symphony Orchestra League) adopted the "Code of Ethical Practices for National and International Auditions."
3. Said code is simply a guideline and contains provisions which dictate that it is "œsubject to local contractual considerations."

Would it not be interesting, in light of all of the hullabaloo, to see these documents and then ask a broad spectrum of orchestral musicians how this code is implemented?

With this: my posting was in no way meant as an attack on either Mr. McManus or Ms. Alsop. Having interacted with both of them, I have nothing but the highest respect for each of them.

Regarding many of the comments here - those being based on the question of "equal opportunity" - it does seem that Ms. Alsop and Mr. McManus are in agreement. While Ms. Alsop does say that the length of time someone plays behind a screen does not give a good indicator of how that same player will handle a schedule of fifty-two weeks, it is known that most orchestras have a tenure process during which a player's ability to "do the job" is assessed. Mr. McManus, in his statement, asserts that the tenure process is the indicator AFTER the win.

Strange - it's like marriage, or building a career. It's not the win that counts, nor is it the wedding. Those things are the results of a foundation being laid, and are both rites of passage that can be seen as both an ending and a beginning.

It does seem, however, that most people do put equal stock on both audition performance - auditioning being a skill in itself - and the day to day actions that will decide, after the audition is won, whether a person will keep his position.

Nevertheless, with all of this talk about "equal opportunity", this New York Times book review does shed some light on the attitudes that have existed in American culture, with special attention to the period from 1945 to the present.

From Peter Carter
Posted on November 18, 2007 at 12:29 PM

Well written Samuel! I agree that like a marriage,auditions are just the beginning.
Nevertheless,auditions are a necessary evil ,screen or no screen and objectivity must be the order of the day.I have found this is the only way to maintain respect for each other and keep as high a playing standard as possible.

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A Dislclaimer, of Sorts

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