If YOU selected the audition materials - orchestra

[Mark]

I'm afraid I'm going to be rather boring and say the standards are pretty good. One slightly less common part I might ask for would be the Cloudburst movement from Grofe's Grand Canyon Suite.

[tubapress]

Here's a sleeper: Villa Lobos-Bachianas Brasilieras #8. There is an extended passage in octaves with trombones that ius thematic and extremely rhythmic.

[BVD Press]

technical and played with the oboes and bassoons)

How much do you think you would have to pay the Oboes and Bassoons to show up and play this along with the people auditioning just to check out thier blend with the new player?

I would pay to hear this played with the woodwinds in the finals!

[Biggs]

Rimsky-Korsakov, Dance of the Snow Tumblers

I think it's a challenge to play quickly and cleanly. Maybe I'm just no good.

[drow2buh]

Anything Wagner, Amen!

I'd choose something really high and something really low - just to see what tuba they show up with. Fun fun!

[mlevis]

...

[Getzeng50s]

that grand canyon suite.... its pretty lame. it was on the tanglewood list 2 years ago... was pretty stupid.

[Jonathan Fowler]

I'm suprised that the Honanaje a Federico Lorca never shows up on lists.

[greatk82]

-yawn-

[Rick Denney]

Vaughan Williams Symphony in F Minor (#4). Everything you need to know about a tuba player is in the third movement--difficult rhythms, range issues, technique issues, challenging dynamics, soloistic music-making, and material that requires musical maturity to interpret effectively.

And it also avoids what most of the standard excerpts have in abundance: An easy way for young auditioners to copy the interpretations of others instead of developing their own.

Rick "who can't touch it" Denney

[Mark]

Vaughan Williams Symphony in F Minor (#4). Everything you need to know about a tuba player is in the third movement ...

And it also avoids what most of the standard excerpts have in abundance: An easy way for young auditioners to copy the interpretations of others instead of developing their own.

The problem with this work is that it is not in the public domain. In fact, it's rental, so I doubt any orchestra would even be allowed to issue parts to those chosen for a live audition.

[windshieldbug]

Vaughan Williams Symphony in F Minor (#4). Everything you need to know about a tuba player is in the third movement ...

And it also avoids what most of the standard excerpts have in abundance: An easy way for young auditioners to copy the interpretations of others instead of developing their own.

The problem with this work is that it is not in the public domain. In fact, it's rental, so I doubt
an[y] orchestra would even be allowed to issue parts to those chosen for a live audition.

That's what the sight-reading portion is for... you don't give out any parts!

[ZNC Dandy]

Bruckner 5,6,8,9 I haven't seen these on many audition lists as of late. Also, whoever suggested Garcia Lorca was right on. Same goes for whoever suggested King Lear Also, if there is a Pops orchestra to be considered, perhaps some movie score parts, like Hook, Jabba, Rocketeer, Private Ryan, etc. would be beneficial.

[Rick Denney]

The problem with this work is that it is not in the public domain. In fact, it's rental, so I doubt any orchestra would even be allowed to issue parts to those chosen for a live audition.

That's no problem. I expect Oxford would readily grant permission to issue an audition page with the necessary excerpts.

Oxford also sells study scores of the RVW 4th for a few bucks. I know; I have one. That would provide the necessary context, it seems to me. And it would force auditionees to consider the audition material the way they have to consider much of the music they will play in the orchestra.

It certainly would not be the only common audition material still held under copyright protection.

Rick "noting that 'American in Paris' is still copyrighted" Denney

[Rick Denney]

That's what the sight-reading portion is for... you don't give out any parts!

Yes, watching 15 finalists sight-read the RVW 4th would certainly separate the wheat from the chaff. Or, at least, identify those who know the literature beyond the standard excerpts!

Rick "who can't even listen to it in proper rhythm" Denney

[Rick Denney]

My gosh - I will have to check that one out! The conductor of my orchestra is talking about that being the next RVW symphony we will play

Quoting Mike Sanders: "It may be the most difficult orchestral tuba part in the repertoire."

Quoting Matt Good: "...you just hang on for dear life"

My fault if I misquoted slightly (I'm going on memory, some of it quite old), but I think I'm close enough to increase your level of apprehension as much as possible, heh, heh.

That said, it is one of my favorite works by any composer: Taut, angry, and powerful. Tuneful when needed, but nobody can accuse Vaughan Williams of romanticism in it, and you also won't find any obvious reference to folk song though it has its modal moments. It verges on unrelenting. I cannot listen to it passively.

The solo in the third movement is really a duet with bassoon, and it is a not-too-difficult opening to a fugal section in the scherzo. The hard part is the rhythmic counterpoint to one of the melodies in the scherzo. It's technical enough to make you want your Eb, but the power of the piece begs for the big horn, even though RVW probably had to endure his 1937 premiere played on a Barlow F tuba.

But the more difficult aspect may be for the orchestra as a whole, and for the conductor. That may be why it is not programmed often. It's very difficult for me to follow the score, and I can't imagine how the conductor provides time in some spots. It isn't just the tuba player who gets a workout. If you have a conductor willing to attempt it, then it would be worth figuring out how to play the tuba part.

Rick "who would have to hire a sub" Denney