interesting historical document: LAPO 1994

[bort]

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).

[Cameron Gates]

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.

[rodmathews]

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

[musikfind1]

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.