Audition is such a dirty word sometimes. But every orchestral performer has to go through the experience at one point or other. The other day I was exchanging audition stories with a couple of colleagues over dinner. This kind of conversation almost always goes the same direction: 1)Auditions are not always the best way to find a performer 2) When an orchestra decides not to hire anyone after a day of auditioning it is never good for the orchestra 3) There is not really any other fair way of selecting a future colleague of an ensemble.
Holly Mulcahy
The Art of Complaining About the Arts, Part 2
Last month included a self test to help us think before complaining and consider a more constructive approach rather than complaining for the sake of complaining. This month I wanted to bring forward the merits of a good complaint and where complaints come from in the first place.
There will always be a need to keep some complaints in the general view for all to see. This is how we can try to get change for the positive in the classical music world. While complaining can look negative, healthy complaining and voicing concerns gently forces an important view or point to encourage positive change or understanding.
The Art of Complaining About the Arts
This is a self-test to determine if you have a problem complaining about the arts. The goal is to help musicians in the classical music business think before complaining and consider a more constructive approach rather than complaining for the sake of complaining. [tabs style=”default”] [tab title=”Question 1″][poll id=”2″][/tab] [tab title=”Click to see the correct answer”] [highlight]Correct answer: “look petty.”[/highlight] If you have nothing nice to say…blah, blah, blah, but also you never know who has saved a screen capture and will share later. [/tab] [/tabs] [tabs style=”default”] [tab title=”Question 2″][poll id=”3″][/tab] … Continue Reading
Getting It Right
“Can music reflect colors and can colors be reflected in music?” That is the question composer Jennifer Higdon poses in her brief program notes for her two movement piano trio. The two movements, titled Pale Yellow and Fiery Red, offer a view of Higdon’s interpretation of two very different colors and moods.
What is so interesting and refreshing to me is the simplicity of the program notes I found for this piece. Many times new works can have too much information, almost in a vain attempt to beat a particular idea or overly esoteric meaning into an audience, leaving no room for anything but one person’s opinion. What I find so touching about Jennifer’s unselfish approach to this piece and program notes is that it allows an audience to ponder the question as they listen to the piece.
That Slippery Slope
If I had been told in conservatory that part of my job would be sitting next to bitter musicians who complain about their job, never smile or look engaged during performances, and that this behavior is potentially contagious, I would have not believed it. How any musician could have the passion snuffed out and be replaced by an apathetic husk of their former self was beyond me.
But the unfortunate reality is musicians do lose their passion.
