Audition Material

Discussion in 'Orchestral Auditions [DB]' started by Leopoldofc, Mar 4, 2014.

  1. Leopoldofc


    Mar 4, 2014
    Hi everyone!! I'm new at here and i think that's the place where i can ask This. I'm preparing myself for a audition here in Brazil. I recorded a video and post on Youtube. Could you possibly give me your thoughts about it? There's a LOT of material!!! Thanks...

    Leopoldo F. Carvalho
  2. I'm going to focus on the excerpts and leave to the solos to your discretion.

    Are you required to play this audition in solo tuning? I know this is typical in some places, but it seems completely wrong to me. All of your excerpts are in the wrong key, and the quality of sound these strings give you isn't at all what I would be looking for in an orchestral bass section.

    Beethoven 5 Scherzo: The pitch isn't completely consistent, and I want the piano sections to be as quiet as possible. In the stronger sections, try for a little more sustain generally, and much more sustain through slurs specifically. Make sure you're emphasizing the larger musical line, and not just what your bowing gives you. Can you easily fit the other parts into your own playing as you listen? The horn players and violinists on the committee will be imagining how it would feel to play their parts along with you. Make it easy for them.

    Beethoven 5 Trio: Slow down! Occasionally a conductor might take such a fast tempo, but traditionally this should be the same tempo as the scherzo. You'll have an easier time with clarity and pitch if you take a moderate tempo. Leave some space between the quarter notes, and when you get to the end you should be nearly inaudible.

    Beethoven 9: You have a tendency to put a whip at the end of notes, and random notes sometimes pop out of the line when you're trying move back to the frog. Remember this is a recitative, and should imitate the sound of a baritone. The sound should be rich and lyrical, as if you were singing. The theme needs to be softer and smoother -- notes don't get to stick out, and there cannot be any gaps in the sound under slur lines.

    Mozart 40: The 8th notes aren't clear enough. Bring the bow closer to the bridge for clarity. Orchestral strings would help immensely. When you get to the second excerpt, you're way too scrubby on the string crossings. That stroke must be off the string -- if you can't do it, try reversing the bowing and have the low notes start with an up bow.

    Britten YPG: Start as softly as possible. Try for better clarity on the 16ths (bow closer to the bridge!), and check that you have the right notes at the theme.

    Villa Lobos: I'm not familiar with this piece, but I am noticing that your up bows are generally much louder than your down bows. Unless it's indicated in the score, you need to be careful with your bow usage.

    Mahler 1: You occasionally rush from beat four to the next downbeat. Be sure you can hear the timpani's accompaniment in the back of your mind as you play this. I would also avoid the obvious shift sound to the high A.

    Pulcinella: Your tempo is not steady. After the introduction, realize the two 16th notes are the downbeat, and should not sound like pickups to the longer note. At 32:00 precisely, those turns are too slow and take you out of tempo. Try slurring the whole first beat in one bow and only changing for the last note.

    Ginastera: You can take much more time, especially at the beginning. The 16th run can start slowly and accelerate slightly. I would strongly urge you to play this a few times with a harpist. You need to know when to give space to the harp and when you're in control. At the end, you'll need to give much more time for the harp to finish her 8ths.

    Good luck!
  3. THE SAW


    Sep 14, 2006
    The Villa-Lobos is a great piece, almost never played in the USA and features the basses quite equally to the rest of the string ensemble. Worth learning if you can find a part.
  4. dtosky


    Jan 4, 2010
    I would strongly suggest the use of orchestral tuning for an orchestral audition.