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Just saw this while browsing the web. London Symphony Orchestra looking for a new tuba player...

http://lso.co.uk/orchestra/jobs.html#or ... -vacancies

Question for all UK and London-based tubists in the know: Do you think it is at all worth it (i.e. have a chance to be competitive) to audition at the Barbican with meinl-weston CC and F tubas? I know it's the "tradition" to play mostly on Eb, but how much of an expectation is it?

dante jones wrote:Question for all UK and London-based tubists in the know: Do you think it is at all worth it (i.e. have a chance to be competitive) to audition at the Barbican with meinl-weston CC and F tubas? I know it's the "tradition" to play mostly on Eb, but how much of an expectation is it?

Fletch had a Rudy Meinl 5/4 CC and a Holton CC when he played in the LSO. It is my understanding that he used the Besson Eb as his bass tuba of choice, and used it exclusively in the PJBE. But on the great LSO recordings with Previn, where a contrabass tuba was required, he used the Rudy or the Holton.

Doug Yeo just before he retired from Boston said that those auditioning for his position were not competing against each other, they were competing against Doug Yeo. So, if you want to audition for the LSO, I would research what equipment the outgoing tuba player played, how long he was there, what if anything was said about him by conductors, fellow players, etc. And listen to recordings of the LSO.

That does not mean I think you should show up with the same instruments. But it should give you an idea what the LSO is expecting from a tuba player. I realize a few European orchestras actually require a BBb and F tubas; but I suspect most orchestras don't care about what equipment you use as long as you sound good to them.

And, for any orchestra, such as the LSO, that does a lot of film scores, you had better be a very good sight reader.

Finally, as bloke likes to point out, it may not be worth it. The LSO pays considerably less than comparable US orchestras and London is a very, very expensive place to live. If you live outside of London, the commute is not good. In fact if you drive into London you will have to pay about $16 per trip. That is a "congestion" charge and does not include parking.

I didn't know that Yeo had retired. I think that's kind of an obnoxious, though maybe not untrue quote though.

bort wrote:I didn't know that Yeo had retired. I think that's kind of an obnoxious, though maybe not untrue quote though.

Obnoxious? Absolutely not! What he meant was the BSO members on the audition committee will judge the audition based on the bass trombone sound they were used to, which was Doug Yeo.

Mark wrote:
Finally, as bloke likes to point out, it may not be worth it.

Not to mention the fact that the whole audition would be moot for a US candidate. The EU is wildly protective of their jobs. The only way a non-EU candidate would be picked is if he/she had an EU spouse, or in the unlikely event that no suitable EU candidate could be found.

I was unclear -- I wasn't intending to call Yeo obnoxious, but rather the process or trying to replace him with the most similar person as possible. Like, how dare he disrupt the orchestral machine by retiring, as if we are just spare parts. Anyway... It's a reality that I find obnoxious.

And Uncle Beer is right as well. Think of it this way though, if England is so great, why do so many British people come to America? Wasn't Thanksgiving to celebrate the original Brexit?

(Yeah, yeah, I'd love the LSO job. Just being a loud mouth. )

Personally I think it's the wrong path to try to "compete" or "match" the person vacating the position. It makes the assumption that everyone else on the committee actually prefers the previous person's sound or approach to playing or equipment. That's not always the case.

One great example is the audition to replace the great Arnold Jacobs. Many people tried to copy his style, and they did not ultimately win the job. The finalists I know and the eventual winner (Gene Pokorny) play nothing like Jacobs did, which was very unique.

Do your thing and be authentic.

I think Doug Yeo meant that the person who replaced him needed to be a better player and musician. That person would be competing against Doug's leagacy, not the way he sounded.

the elephant wrote:Quick and dirty prognostication for this event: No one here will win this job. That is all.

If not here, then where?

txba wrote:

the elephant wrote:Quick and dirty prognostication for this event: No one here will win this job. That is all.

If not here, then where?

Probably someone in the Europeans area. Any young tuba player currently in his audition career, at least in the US, will 99% probably not have the funds in order to pursue this audition. International flights by yourself are expensive enough, but with 2 horns? Woof. Auditioning is an investment. After only 8 professional auditions, I can't tell you how much I've spent on gas, car repair. hotel, food, and forgotten deodorant. It seems like a dream job, and I would think so! But for me, the investment is too high for a group that is probably looking for a more European approach to playing than an American approach.

Plus I'm not trying to dent my horn from careless bag tossers.

EDIT: The NYC Ballet thread said that Aaron Tindall was a finalist in London and the runner up in the NYC Ballet audition. Good work by him.

There were three days of auditions. Each day had possible two rounds for each candidate. From the three days, people were chosen for a "trial" with the orchestra. I do not know the exact numbers but there are at least 6 (don't quote me) that were taken after evaluation of the "semi-finalists". Aaron and I were 2 of the three on the first day. I do not know much more.
DK

happyroman wrote:The NYC Ballet thread said that Aaron Tindall was runner up.

I wonder who won, then...

No winner like in US auditions. Trials can last very long time..sometimes 2-3 years until they find what they need. I am sure that some of the english guys here on Tubenet can offer help.

Kutz wrote:No winner like in US auditions. Trials can last very long time..sometimes 2-3 years until they find what they need. I am sure that some of the english guys here on Tubenet can offer help.

Good luck to you. Always happy to see a fellow NU grad doing well.

Now it's Public, I can tell you that Ben Thomson has won the LSO job, leaving Royal Opera House. Can't think of a nicer chap, or more able player.

AndyCat wrote:Now it's Public, I can tell you that Ben Thomson has won the LSO job, leaving Royal Opera House. Can't think of a nicer chap, or more able player.

CONGRATS to Ben!!!! An extraordinary musician and fantastic guy!!

Just goes to show: England doesn't need to look any farther than England. They have excellent players of their own.