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Postby Tony E » Sat Mar 04, 2006 3:17 pm

Herr2bawt1 wrote:

We all have the capacity to become who we emulate

You've just written the lyrics for the "wanna-be theme song".

Perhaps you haven't seen AMERICAN IDOL :lol:
There's a new show about to start called "Pros vs. Joes". From the previews, I suspect your assertion may be in trouble.

Let's contemplate the following quote from Jim Self's article "The Studio Tubist", wherin he addresses the influx of wanna-be studio tubists:

“There is a huge naiveté about both their understanding of the business and their relative talentsâ€
Tony E

Postby anonymous4 » Sat Mar 04, 2006 8:10 pm

Tony E wrote:Perhaps Mr. Self is confused and ALL of these wanna-be studio tubists do have the capacity (talent?) to play at the requisite level and all that is required is more effort and experience.

When people start putting boxes around themselves and using words like "can't", then it doesn't really matter how much inherent talent they have, the battle's already been lost. There was a time when the Pros were the Joes. God didn't just come down one day and say "Here's all the talent and ability you'll ever need, go forth and conquer". They had to work for it. Some people have to work harder than others, but the ones who really want it don't let a little detail like that get in the way.
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Postby Deleted dp » Sat Mar 04, 2006 10:09 pm

Last edited by Deleted dp on Wed Apr 17, 2013 1:07 am, edited 1 time in total.
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Postby harold » Mon Mar 06, 2006 12:41 am

The best musician that I know is also the hardest working. Any connection? Perhaps...

My biggest problem as a tuba student in Dan Perantoni's studio at ASU was that there were 40 other guys there most of whom were willing to work harder than I was to get a real gig.

My only salvation was that I concluded that I was never going to be a professional tubist and concentrated my time and energy into something else that allows me to make a decent living - something that I would not have as a tubist because I would suck too much by comparison.

On the other hand, my current profession allows me to own some pretty decent instruments - that I can't play very well.

Postby MaryAnn » Tue Mar 07, 2006 2:17 pm

anonymous4 wrote: Some people have to work harder than others, but the ones who really want it don't let a little detail like that get in the way.

You are wrong, O tuba-breath. There are a plethora of people out there who really want it, who encoutered the brick wall of the limit of their talent. Apparently you have never put intense effort into something you have more love than talent for; when it happens, you might find your eyes opened just a crack.

For example, how about someone with cerebral palsy who would like to be a slalom skier in the Olympics, and who was willing to put unbelievable amounts of work into achieving that?

I'm not saying that even with prodigious talent work is not required, because it is. It's just that someone who is "gifted beyond belief" is able to get farther with that work than someone who is comparatively a klutz.

MA, who is familiar with several brick walls
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Postby windshieldbug » Tue Mar 07, 2006 2:34 pm

MaryAnn wrote:MA, who is familiar with several brick walls

What she said.

MK, who got REAL familiar with one particular brick wall
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Another Carol Jantsch article-more background infomation

Postby Tuba-G Bass » Wed Mar 15, 2006 10:19 am

Female student wins tuba chair in Philadelphia Orchestra
By: TOM KRISHER (Tue, Mar/14/2006)

ANN ARBOR, Mich. - It's 9:30 on a Saturday night, and Carol Jantsch's cell phone is ringing.

She's 20 years old, she's in State College, Pa., for an ultimate Frisbee tournament, and she has no idea who'd be calling from the 215 area code.

On the other end is the personnel manager for the Philadelphia Orchestra, one of America's finest symphonies.

"He told me that they'd like to offer me an audition," recalled Jantsch, now 21, a tuba player in her senior year at the University of Michigan.

The call last April began an arduous process that involved multiple auditions and performances with the orchestra before Jantsch won the tuba job last month from a field of 195 musicians.

Orchestra officials say she is the first woman to earn a tuba seat with a symphony considered to be among the top five in the United States. She also may be the youngest person ever to win a top-five tuba spot, although memories and records are fuzzy before the early 1930s.

That she won the seat at such a young age is remarkable by all accounts, but was expected by those who have taught her.

"This is no surprise for us," said Michael Haithcock, Michigan's director of bands. "Over four years, we've just been accustomed to Carol's depth of talent."

The soft-spoken Jantsch, daughter of an Ohio emergency room physician and a vocal music instructor, said her parents unwittingly started her tuba career when they forced her to take piano lessons at age 6.

It didn't take long for her mother, Nancy, who teaches at Kenyon College in Gambier, Ohio, to hear her daughter's talent.

"She could make the simplest stuff sound very musical," Nancy Jantsch said.

Carol Jantsch became interested in low brass when she was 9 at an arts camp in northern Michigan. She picked up a euphonium, the tuba's smaller cousin, and could play it immediately, she said.

"I always knew I was sort of ahead of the game," Jantsch said.

She began playing consistently in elementary school and started to dabble in tuba in seventh grade. When her family moved to Worthington, a Columbus, Ohio, suburb, she switched to the larger horn. But high school there was difficult for her.

"Everyone who was there had been there since they were zero years old," she recalled. "They didn't need any friends."

After her freshman year, Jantsch returned to summer camp, where teachers encouraged her to attend the Interlochen Arts Academy, a boarding high school for talented artists near Traverse City, Mich.

Her instructor, Tom Riccobono, said she auditioned against two upperclassmen for first chair in the top band.

"She just wasted them," he recalled.

Interlochen helped her grow socially, Riccobono said. Instructors marveled at her math skills, and she discovered ultimate Frisbee, a game similar to football.

Although she plays an instrument normally reserved for males due to their larger lung capacity, Jantsch said she has never felt out of place.

Tuba professors say that Jantsch's lung capacity may be less than male players, but it doesn't matter.

"You still have to be efficient," said Don Harry, associate professor of tuba at the Eastman School of Music in Rochester, N.Y. "She's the most efficient person, probably on the planet."

Jantsch decided to attend Michigan largely because she was impressed by Fritz Kaenzig, the school's tuba instructor.

She won a seat in Michigan's top symphony band, one of only two or three freshmen to do so. Kaenzig recalled that in Jantsch's first studio class, she played a difficult sonata from memory. "All the graduate students kind of looked at each other and rolled their eyes and said 'Oh, no.'"

As a sophomore at Michigan, Jantsch auditioned for the New York Philharmonic, finishing as a semifinalist.

She kept looking for jobs, though major orchestra tuba posts open only once every two or three decades.

When Philadelphia's opened in 2005, Jantsch applied but was summarily rejected for lack of professional experience.

Her breakthrough came when she sent a compact disc to apply for Bar Harbor Brass Week, a summer program for college students in Maine.

Blair Bollinger, the Philadelphia Orchestra's bass trombone player and chair of its tuba audition committee, is Bar Harbor's music director, and he listened to Jantsch's CD in his car.

It was a performance of a difficult violin concerto she had transcribed for tuba.

"It really was expressive and technically brilliant," Bollinger said. "I was just sort of flabbergasted."

He played the CD for his colleagues, who agreed to bring Jantsch in for an audition.

She made the first cut, but no one emerged as a solid favorite in round two.

So six musicians, including Jantsch, were asked to fill in for the orchestra's longtime tuba player who retired in May.

Before her performances, Bollinger said they told Jantsch that she played great, but they questioned how well she'd fill the bottom of the orchestra.

"She absolutely rose to the occasion," he said.

In February, the committee called back 25 tubists for final auditions.

In the initial rounds, musicians were behind screens so the judges couldn't see them.

Jantsch advanced to the finals, and on Feb. 22 played without a screen against two men with far more orchestra experience, Bollinger said.

"I was happy with what I did," Jantsch said. "I knew it was representative of my playing. That's all you can really ask for."

At 11:30 p.m., the personnel director told all three that Jantsch had won the job, which pays around $102,000 per year.

"What an awesome feeling," Jantsch said. "It was so great to be daydreaming about something for such a long time and actually have it come true."

She probably will start in Philadelphia in September.

Kaenzig said although it's unusual for such a prestigious orchestra to take on someone so young, he knows Jantsch has the talent to succeed.

"I feel like the Philadelphia Orchestra is getting somebody who is going to bring them great honor," he said. "They're taking a chance, but not really."

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Postby Lew » Wed Mar 15, 2006 10:54 am

This story transcends tuba players. I had a French horn player and a trombone player come up to me after yesterday's concert with one of the bands I'm in and ask if I had heard of this young woman tuba player who'd won a major audition. It had apparently been discussed on a horn and trombone list to which they belong.
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The Carol

Postby THE TUBA » Sat Mar 18, 2006 11:44 pm

My subscription to the Charlotte Observer ended the day they ran an article about Carol :evil: . Talk about bad timing...
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