| | Questions.
Why do we hold auditions based on how we sound individually, when the whole game is "what kind of section players" we are?
To what extent are conservatory-trained musicians setup for occupational failure, whether or not we win big orchestra jobs? (i.e. "the bigger they are, the harder they fall" syndrome)
How can I get good enough that I never have to practice any more?
Thoughts.
Walking through JH, I heard what I thought was a period wind ensemble today, but their sound was really huge, so I was thinking, "that can't be, there'd have to be tons of them." I thought it might've been a period group because the intonation was really fuzzy and it sounded like a lot of natural horns, etc. Later on I found out it was a middle school symphonic band.
Man percussionists gotta deal with long fuckin' lists. Look at this. Jeezus. I shouldn't even be complaining about bass lists or repertoire:
Percussion
Percussion applicants may audition live (auditions are first-come, first served) or by tape. Please see above for taped audition guidelines.
In addition to the application materials required for all instrumentalists, percussionists must submit a repertoire list of no more than 1 page, listing works studied and/or performed in the last 2 years. Percussionists must prepare the following four solos in addition to all of the required excerpts listed below.
Solos
1. #6 from Keiskleiriana Book 2 by J. Delecluse for snare drum
2. a timpani solo of choice
3. a two mallet solo of choice
4. a four mallet solo from the contemporary repertoire
Timpani
BARTOK Music for Strings, Percussion, and Celesta, mvt II: mm 300-340
BEETHOVEN Symphony No. 9, mvt I: mm 513 (18 mm before rhl S) to end of mvt
MARTIN Concerto for 7 winds, timpani, percussion, and strings, mvt III: 6 mm after rhl 18 to 7 mm after rhl 22
STRAUSS Der Rosenkavalier Suite
STRAVINSKY The Rite of Spring, rhl 186 to end
TCHAIKOVSKY Symphony No. 4, mvt I: mm 333-352 (2 mm before rhl T to 3 mm before rhl U)
WAGNER Götterdämmerung, Funeral Music (complete)
Xylophone
BARTOK Music for Strings, Percussion, and Celesta, last mvt: mm 173-183 (at quarter note before 3/2 play double notes)
GERSHWIN Porgy and Bess Overture, Opening
HINDEMITH Kammermusik Op. 24, No. 1, Finale: mm 137-154 and mm 267-278
W. SCHUMAN Symphony No. 3, Toccata: mvt IV: mm 227-247 (in octaves)
Bells
DEBUSSY La Mer, mvt II: rhl 16 to rhl 19
DUKAS The Sorcerer's Apprentice, 4 mm after rhl 17 through 4 mm after rhl 19; rhl 22 to rhl 24
MOZART Magic Flute, Finale of Act I
RESPIGHI Pines of Rome, beginning through 8 mm after rhl 4; rhl 7 through 16 mm after rhl 9
Snare Drum
1) one pp roll ca. 10"; one ff roll ca. 10", one roll pp-ff-pp
2) excerpts:
PROKOFIEV Lt. Kije Suite, 1st part, rhl 1 to rhl 2
RAVEL Alborado del grazioso: rhl 26 to rhl 27 (Tamb. Militaire part); rhl 33 to end (Tamb. Militaire part - stems down)
RIMSKY-KORSAKOV Scheherazade, mvt III: rhl D to rhl E, rhl G to rhl I; mvt IV: rhl P to rhl R
W. SCHUMAN Symphony No. 3, Toccata: mm 143-165
SUPPÉ Overture to Pique Dame, 13 mm after rhl 6 to rhl 9, rhl 17 to rhl 19 (Payson Book Edition); or 4 mm before rhl C to 8 mm before rhl D, and rhl H to end
SHOSTAKOVICH Symphony No. 10, mvt II: rhl 98 to end
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| | Posted 2/4/2006 3:15 AM - 3 Views - 2 eProps - 1 Comment
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