TubeNet

Great post! Interesting - NO "Bydlo" - despite that some guys seem to think you need to keep a special horn around just to play that. Also - No Tschaikovsky - esp the 4th which I always found to be a workout.

BTW - Don Butterfield always regarded Petruschka as his personal nemesis - like it followed him around into dark alleys. That and maybe some of the stuff Charlie Mingus expected him to play...

Pardon my ignorance (I don't pay that much attention to conductors' careers) but would this have been during Mehta's tenure?

Mark Heter

Uncle Markie wrote: Pardon my ignorance (I don't pay that much attention to conductors' careers) but would this have been during Mehta's tenure?

Mark Heter

No, Mehta left in 1978 for the New York Philharmonic. In 1994 the Music Director of the LA Philharmonic was already Esa-Pekka Salonen.

Giulini and Previn served as Music Directors between Mehta and Salonen.

tstryk wrote:Is there a book of excerpts or does one have to procure the tuba part to each of these?

I do not know how things were handled during the 1994 LAPO tuba audition, but these days candidates are expected to procure their own sheet music. We do make pieces that are copyrighted or rental only available to candidates if such works appear on the audition list. Doing so does require permission of the publisher.

During the actual audition, a candidate book is supplied that contains all of the works from the audition list. The candidates may then use that or use their own music during the audition.

So the sight reading isn't *really* sight reading?
Is this normal?

Does anyone ever write a few lines for the audition? Everyone attempts the same thing and nobody could have prior knowledge.

Reading skill might well be assumed at such high level by why wait for a trial to discover someone has a reading weakness? It certainly matters, no?

bloke wrote:...

So, did you go?

Tom wrote:

tstryk wrote:Is there a book of excerpts or does one have to procure the tuba part to each of these?

I was just thinking it would be difficuly to come up with all of those excerpts legally!

Quite a few of them are available on the Cherry Orchestral Excerpt Disk here http://www.cherryclassics.com/cherry/lo ... -c-38.html. I notice that it's about $30 cheaper than I paid. What a deal!
Kalmus also sells parts to much of the standard repertoire.
Don't forget the Torchinsky books.

If you want parts, you can find them if you look for them long enough.

tstryk wrote: Why do you need to sight read as long as you come to the first rehearsal prepared? I have always received my orchestra music ahead of time

Because sight reading tells the story about a person's musicianship. Robots can play excerpts flawlessly.

I have seen this proven many times.

If you are just looking for a collection of excerpts you might want to consider "The One Hundred" by Wes Jacobs published by Encore Publishing.
It really is laid out pretty well and has a lot of instructional information as well.
I picked it up recently and even though I doubt I will ever play in a symphony it is fun to read.
ScottM

ScottM wrote:If you are just looking for a collection of excerpts you might want to consider "The One Hundred" by Wes Jacobs published by Encore Publishing.
It really is laid out pretty well and has a lot of instructional information as well.
I picked it up recently and even though I doubt I will ever play in a symphony it is fun to read.
ScottM

I have that book. It's extremely well put together. The included comments and instructions proved very helpful to me. I don't play full-time in an orchestra, but occasionally am asked to sub.

Interesting bit, thank you!


Not at all applicable to the average tuba player though, fwiw...

tstryk wrote: Why do you need to sight read as long as you come to the first rehearsal prepared? I have always received my orchestra music ahead of time

To me, it's like comparing communicating with people by email vs. talking in person. You could be able to communicate perfectly with someone by email, but it might take 5, 10, 30 minutes to compose the perfect email. Could you stand to wait even 1 minute inbetween thoughts when talking to someone in-person? Seems like the same thing to me, and I think everyone understands that sight-reading is "less pretty" than prepared works (same way that term papers are "more pretty" than oral exams).

tstryk wrote: Could say a lot about someone's eyesight. I taught a couple legally blind kids and some with dyslexia. One o the legally blind ones turned out to be a world class rudimental drummer. Think ANY of them could sight read? Some great musicians have processing problems. To me, the only thing sight reading shows is a person's ability to sight read - not about musicianship. Perhaps I have just been in the classroom too long?

Blind people are not normally auditioning for orchestras. I do not doubt that there are great blind musicians.

I have sat on a few audition panels for a group that does require sight reading as part of the audition process. Hearing someone sight read and make musical sense while doing it is a big plus. Not asking for perfection, just an indication that the performer knows how to read rhythms, hit pitches, and maintain somewhat of a musical bearing. This tells the committee that the player is a musician, not just a practice room weight lifter. It also might say something about thinking on one's feet. As we all know, sometimes things don't happen like they should in performances. Being a good musician and not just a regurgitator of excerpts is what I would think an ensemble would prefer.

I should also note that I play in a group that does a fair amount of performing without the luxury of rehearsals. I guess my point of view might be a little different than some.

I remember that list well. I spent a lot of time on that one!

tstryk wrote:Is there a book of excerpts or does one have to procure the tuba part to each of these?

Respighi: Fountains of Rome is PD in the U.S. Score and parts available for sale in a corrected edition:
EMS2610 RESPIGHI, Ottorino (1879-1936) - Fountains of Rome ( edited Nieweg - Bradburd).
Pub: EDWIN F. KALMUS - large score - A7920 $40.00

EMS2611 RESPIGHI, Ottorino (1879-1936) - Fountains of Rome (Nieweg - Bradburd).
EDWIN F. KALMUS - set (incl str. 4,4,3,2,2) - A7920 $200.00

EMS98856 RESPIGHI, Ottorino (1879-1936) - Fountains of Rome (Nieweg - Bradburd).
EDWIN F. KALMUS - extra tuba - A7920 $5.50

http://www.emsmusic.com/product_p/emsg33161.htm" target="_blank
http://www.emsmusic.com/" target="_blank
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All parts on that LA list are for sale from EMS-Educational Music Service except:
Prokofiev: Symphony No. 5 - Now on rental from Schirmer, Chester NY.
Stravinsky: Petrouchka (1947) - On rental from Boosey and Hawkes NY.
Hindemith: Symphonic Matamorphoses - On rental from Schott/EAMDLLC, NY

The excerpt on the audition for these works that are copyrighted and rental only, must be made available to candidates. Otherwise the audition would be illegal.
Rental agents do not supply copyright parts to individuals only to the orchestra librarian.