I'm taking an audition for the assistant principal bass position in a regional (per service) orchestra next month and on the audition list they are asking for a "concerto of your choice." I usually play the Koussevitzky for auditions, but have recently performed Per Questa Bella Mano for a recital and I think it sounds more impressive than the first few minutes of any bass concerto. Could I get away with playing that for a concerto of my choice even though it's not a concerto?
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass Per Questa for an audition solo?
- Thread starter marab
- Start date
Wow that's a tough call. Play the one you can play better. However, I would call the personnel manager and have them run it by the audition committee.
If they ask for a concerto, then play a concerto. End of story. 90% of American auditions call for first movement of a major concerto and/ or some Bach. Accordingly, it's always good to have both up and running if you're taking auditions.
BTW, cheers for working up the Mozart.
BTW, cheers for working up the Mozart.
Play the Koussevitzsky. The Mozart is a duet; the bass part shouldn't be played as an audition piece without the vocal part.
If you are interested to get a job, respect regulation first. If regulations indicates the concerto, do not play a dueto. Even if it´s remarcable, fabulous and sounds extraordinary.
Show your respect first
In auditions the program is always secondary thing. Perfect intonation and sense of rythm are crucial. In some strange situatiuons also sound is important, but every child knows, that sound depends mostly from the quality of instrument, so it is rather not to consider.
Play Koussevitzky.
Show your respect first
In auditions the program is always secondary thing. Perfect intonation and sense of rythm are crucial. In some strange situatiuons also sound is important, but every child knows, that sound depends mostly from the quality of instrument, so it is rather not to consider.
Play Koussevitzky.
Sound is highly individual, other than that I agree. But it's a common mistake to put sound as fully dependent on the instrument, in my opinion.
Are you allowed to play per questa and no other solo? It would seem silly to allow people to play one part from a duet as their solo. It doesn't show the same skill as playing a concerto, because the sense of intuitive dialogue with those you're playing with is different. But that's just my opinion.
Re: NY Phil audition list--I looked at this list and didn't see per questa listed under "Solos," but instead under "Orchestra Repertoire Solos." Very different! I don't think the committee would allow for a candidate to replace a concerto they've required with per questa; they've listed them under different categories, for one thing.
Thanks everyone! I did prepare the Koussevitzky, but it was all for naught. All of the current contract players of the orchestra were automatically advanced to the final round, as is customary, and the conductor decided that he didn't want to hear any concertos in that round. They skipped right to the excerpts. W.T.F., right?
