What Makes a Successful Audition? – Part 1
In the midst of college and festival audition season, I wanted to take a moment to reflect on what makes a successful audition. I connected with three inspiring artists and pedagogues to ask their perspectives on preparation, the audition process, and the added challenge of completing an online or recorded audition with limitations due to COVID-19.
Astrid Schween – Cello Faculty, The Juilliard School; Faculty, Perlman Music Program; Cellist, Juilliard String Quartet
Danielle Belen - Associate Professor of Violin, University of Michigan School of Music, Theatre & Dance; Artistic Director, Center Stage Strings Summer Institute; Faculty, The Colburn School
Patricia Weitzel - Lecturer of Double Bass, Columbus State University; Bass Faculty, Sphinx Performance Academy, Wintergreen Music, Schwob Summer Music Festival
This is this first part of a three-part series.
What qualities do you listen for in an audition?
AS: At an audition, I am listening for the individual voice and imagination of the performer. I am interested to hear how the player responds to the music- the rhythmic, melodic, harmonic and collaborative impulses of the music. I also hope to feel moved by the playing and do my best to listen with an open mind. I believe that encouraging students to use their imaginations sooner in the audition preparation process, helps them to develop a more personal and technically secure interpretation that better prepares them to face the rigors of the audition process.
DB: I’m listening and looking for a combination of natural gifts, solid teaching, good coordination and hand structure, personality and most of all an ear for beauty of sound and intonation. Of course, there are dozens of other things to listen for, and they don’t all need to already be at a completely polished level, but these are some of the most important. One additional quality that is crucial, but is better identified in a one-on-one trial lesson rather than an audition, is an innate hunger for improvement and an understanding of what it means to work very hard.
PW: People often think committees look for perfection in auditions, but that’s not true. Generally, we seek the best musicians, not people who just play the right notes. A beautiful tone, thoughtful interpretation, and phrasing are aspects that go way beyond the right notes. It’s where real music lives.
Key takeaways: Work for solid technique that supports beautiful sound and imaginative music-making.
What is your top tip for candidates preparing an audition?
AS: Start early, make a plan, cultivate a healthy mindset and bring your passion to the preparation process, each and every day. Also, don’t be afraid to talk to people: teachers, mentors, coaches and peers, about your process and any issues you are experiencing. There are wonderful books on the topics of preparation and performance. I frequently recommend: “The Practicing Mind,” by Thomas Sterner; “The Inner-Game of Tennis,” by W. Timothy Gallwey; “Mindset,” by Carol Dweck and “College Prep for Musicians,” by Annie Bosler, Don Greene and Kathleen Tesar.
DB: Many auditions will be unaccompanied. Remember to study your score and play along with YouTube videos if you don’t have safe access to a pianist! Just because you might not be hearing the orchestral accompaniment in your head while playing your concerto doesn’t mean we, the judges, aren’t!
PW: Start preparation early - I can’t emphasize this enough! We often have much less time to prepare than we think. Don’t forget to “practice” performing (play mock auditions for people) and always remember to enjoy the process. Remember that once the playing is done, you have absolutely no control over the outcome of an audition. However, you have control over the process of preparing for it - enjoy the process and use it to your advantage.
Key takeaways: Plan well and well in advance! Dive deeply into your preparation by seeking support, researching performance best practices, learning your score, and cultivating a healthy mindset. You can control your work ethic, preparation, and commitment to your artistry but not the outcome of the process.