Audition Post-Mortem

Well... it's over with. The work I put in over the last few weeks paid off, but I'm not sure how much. I feel confident with how I did, and I know where my mistakes were (Ein Heldenleben still gives me grief), but I think they were minor in the grand scheme of things. The more I think about it, the more I am satisfied with how I played for the audition. I may not get the gig, but at least I represented myself well. Even the two old people who were recording the session were impressed enough to make several complements after I had finished, even though they have absolutely no bearing on whether or not I get the position. Made me feel good to at least entertain a few people.

I learned a lot more this time than I did for the Calgary Philharmonic auditions. I was more confident at this audition, and I think that allowed for a better performance. It is far less intimidating with two old people and a microphone in front of you instead of the big curtain hiding God knows who, so that might have something to do with it. But I think that this experience will get easier as time goes on. Also, far less intimidating warming up in a setting that I am familiar with, not some big room with a bunch of people from across the country far more qualified than I am.

Anyways, now I wait a month to see the results.

On another note, since I study with a relatively famous tuba profesor, I get to learn stuff about his very famous teacher, Arnold Jacobs. Jacobs was perhaps the most important brass instructor in the last 60 years, and has made an impact on the playing of the majority of performers in the brass world of today. Not because of his virtuosity, but because of his teaching, his knowledge of the anatomy of breathing, and his perspective on the mentality and psychology of musical performance. Gene and I go over this type of stuff every lesson, and more and more of it takes hold. If anyone is at all interested, they should check out his website (www.windsongpress.com), and read some of the articles. I'm reading one of the books published about his teaching (Legacy of a Master) and it is very interesting. It is a collection of essays written by his students, and it certainly offers some interesting perspectives and stories, like one about an oboe player from the Chicago Symphony who would have regular lessons with him to work out breathing problems. An Oboe player, working with a tuba player. Doesn't seem right, but that was how good Jacobs was with his teaching.

Anyways, Gene has an article in the book, so I borrowed it from him, but I'll probably want/have to buy it soon, as I think it is great reference for anyone who wants to teach. Read an article or two on the website, it's pretty interesting.