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I'd like the opinions of the TNFJ on something.

Let's say, hypothetically, one were taking an audition for a symphony orchestra and the panel was asking for a "solo concerto of the applicant's choice." Given the choice between one well-known, often-used-and-asked-for war horse concerto and one that's more "under the radar," and also given the following:

-Both are equally well prepared, and to a high level, technically and musically
-You enjoy both pieces (roughly) equally

Which would you choose and why? I'm curious about the perspectives of auditioners and the panel behind the curtain.

And in case you're wondering, yes, I'm faced with this decision currently. Yes, I'm pretty sure I've made my choice. No, I'm not going to share quite yet...

no question: Encounters II

Haha, Tony! That one doesn't really fit my "like it equally well" criterion, though...

tclements wrote:no question: Encounters II

Exactly my thinking, play the piece you sound the best on and that you feel will make the best impression on the committee. The Kraft is an amazing piece, extremely difficult, and always makes a huge impression when played well. If you can pull it off, there isn't a better choice IMO.

I'd go with the less well known one.

The warhorse concerto will be played by plenty of people, possibly most people. While playing it exceptionally well might make you stand out a little, playing something completely different could be a breathe of fresh air for those on the panel. That will make you stand out quite a bit, and thats what you want at an audition.

Jay Bertolet wrote:

tclements wrote:no question: Encounters II

Exactly my thinking, play the piece you sound the best on and that you feel will make the best impression on the committee. The Kraft is an amazing piece, extremely difficult, and always makes a huge impression when played well. If you can pull it off, there isn't a better choice IMO.

One might wish to read carefully what the audition list stipulates: a “solo of the applicant’s choice” or a “concerto of the applicant’s choice.” Both appear on audition lists.

Encounters is not a concerto, and it might be prudent to adhere to the requirements.

russiantuba wrote:My opinion:

The Vaughan Williams has almost become an etude/excerpt.

Only if you play it that way

Even without going to the extreme that Gene did, there are still a lot of liberties that can be taken, especially in the cadenzas. You can make a solo sound like a scale, or a scale sound like a solo - it's all in what you do with it.
After being inspired by Gene, I am seriously thinking of getting the VW performance ready on BART following its next rebuild (using a modified C4 to tame it). I know the Gregson would work on it, but it would be interesting how the V Dub could ultimately come off, especially in the first and third movements.
(disclaimer: This would be great for a solo with my university, concerto competition, recital, etc. I would not do this if I was taking a serious audition, which I will probably not do at this stage in my life.)

JCalkin wrote:I'd like the opinions of the TNFJ on something.

Let's say, hypothetically, one were taking an audition for a symphony orchestra and the panel was asking for a "solo concerto of the applicant's choice." Given the choice between one well-known, often-used-and-asked-for war horse concerto and one that's more "under the radar," and also given the following:

-Both are equally well prepared, and to a high level, technically and musically
-You enjoy both pieces (roughly) equally

Which would you choose and why? I'm curious about the perspectives of auditioners and the panel behind the curtain.

And in case you're wondering, yes, I'm faced with this decision currently. Yes, I'm pretty sure I've made my choice. No, I'm not going to share quite yet...

I was on the orchestral audition circuit for a couple of years as a trombonist before I figured out that I did not want to be a full time orchestral player, but just wanted to play in an orchestra as one part of my performing career. When working with my teacher, this came up a couple of times, and inevitably, you've already answered your question.

The key statement is "You enjoy both pieces (roughly) equally."

The fact is, the panel wants you to succeed and sound your best. Doug Yeo, of the BSO (retiring), wrote on the Trombone Forum in reply #25 that they want to pick a winner. (on this page http://tromboneforum.org/index.php/topic,61357.20.html" target="_blank). It is clear that they are rooting for players to do their absolute best so they can decide if the player is the right fit for the orchestra.

So, enjoying both pieces "roughly" the same means there is a preference. You will perform better on the piece you absolutely enjoy playing more, giving you a better shot at winning. Matt Guilford (Bass Bone, National Symphony Orchestra) talks about making music in this post on his site: http://www.matthewguilford.com/?page_id=73" target="_blank. If you fail to make music, you won't get selected. How to make sure you make music? Pick the piece you love the most - that will make you stand out more, no matter how many millions of times the committee has heard it.

If all things are absolutely equal (including enjoyment of the piece), then I would say go for the under the radar piece - it could make you stand out against the crowd. But, if you enjoy the war horse even a bit more, you know your choice.

Do I remember that you're a director of bands somewhere? Maybe you're surrounded by non-tuba-playing musicians?

I'm assuming that your audition will be in front of musicians who are not tuba players.

If so, arrange to play both pieces for some musicians who are not tuba players. Let them decide. If one of your pieces is a transcription of a piece originally for some other instrument, maybe try to see if you can play for a player of that instrument.

I hope this helps.