Do you ever have to play longer than the exposition in an audition?
I'm currently learning Mozart Concerto No.5 and was just wondering, do orchestra audition panels ever hear more than the exposition in an audition, or do they always stop you after the exposition? (I hope so since the recap in Mozart No.5 is so difficult!)
Youth orchestra, college orchestra, community orchestra, or professional orchestra audition?
My committees never heard any of my prepared pieces in their entirety. But if your committee is calling for "a movement," then be sure you've mastered the whole movement. Better safe than sorry.
We just had a thread in which someone talked about botching an audition because she hadnt learned the entire movement of the Brahms up to audition standard (and they did want more than the expo, I guess.) That was for competitive grad program auditions. YMMV
In an audition for a section viola seat in a semipro orchestra, I was stopped about halfway through the exposition of my piece and asked to skip straight to the development. I assume an audition panel at any decent level may do something similar.
For my orchestra, we hear the first 3 minutes (more or less, depending on if there's a logical stopping point) of a major concerto, or the exposition of a Mozart concerto.
Thank you all for your comments! I suppose I should prepare the rest of the movement in just as much detail as the exposition, as Jim said: better safe than sorry!
You're learning a Mozart concerto for life, anyway. There's no reason not to learn it thoroughly. :-)
I think it's safe to say that the further you advance in an audition, the more material you should have prepared. If it's really close final round, they may want to start hearing you play more of the concerto (or excerpts). Especially if it were to come down to people playing the same concerto.
I was just thinking that Mozart 5 is HARD!
lol I think you missed one of the two negatives.
The intent of my sentence was the difference between "the difficulty of being able to get the pitches" and "the difficulty of actually playing it well". In other words, Mozart is revealing; the difficulty is in making it immaculate.
It can be hard to predict. I have personally been heard on everything from a single page of a work, to an entire movement.
I just realized that I must have been the one who misread Lydia's post.
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