How to Lose a Conducting Audition

By Anonymous

As a professional violinist with a lot of experience in orchestras of many levels across the country (and with conducting experience of my own), I have always considered myself a good and fair judge of conductors. As a first-time member of a conductor search committee for a regional orchestra, however, I discovered that finding the right conductor is a much more nuanced affair than I would have thought possible. As we near the end of our quest (successful, I hope!) for a new music director, the experience (résumés, reference calls, videos, social events, interviews, rehearsals, and concerts) has been truly eye-opening.

I’ve seen much in the way of stick technique, charisma, musicality, fund-raising and administrative know-how, and…mistakes! Many of the candidates, from an applicant field of almost 200, were clearly qualified – in fact, there were too many. Like a “cattle call” at a Broadway audition, we initially had to look for ways to eliminate candidates before we could reach a manageable number of finalists.

After seeing all those strange cover letters, weird DVDs, unfortunate references, and interview gaffs, I thought it would be valuable for future applicants everywhere if I made a list of all of the ways a candidate can be guaranteed to lose the job. So for all you hopeful maestri out there, here goes:

Don’t bother having all of your materials ready to go. Believe it or not, many candidates didn’t include résumés! This was especially true of overseas candidates, and even Americans with many years of experience. This was puzzling because, of course, this is the first piece of information the committee wants to see.

Don’t bother to make a DVD until you absolutely have to… Some candidates had no DVDs (today’s standard for video recordings) and claimed various, unconvincing, reasons for not having one (including local union rules!). As a guiding principle, our committee strove to be fair. We simply wouldn’t advance a candidate without receiving the same required materials from them as from everyone else. Not having a DVD took some applicants out of the running immediately. We are looking for a Music Director who can make things happen! Did we honestly want one who couldn’t find a way come up with a DVD?

…and when you do get around to it, make sure it shows you in a less-than-flattering light. Of the DVDs we did receive, some were taken from angles (like behind the bass section) that really didn’t show much conducting. Some showed only operatic conducting (although orchestral conducting was asked for), and some showed a candidate conducting to a recording. One video captured a candidate running off the stage for a while before returning. These are all great ways to be dropped from consideration.

A personal plea: don’t use those thick DVD labels. No one on the search committee will appreciate having to take his computer to the shop to have your DVD extracted.

Include plenty of outdated material. Our committee wondered about candidates who sent out material from the 1980s. Many candidates have hip packages: photographs in a current style, current references, and modern-looking promotional material. Don’t get left behind!

Make your first contact with the orchestra memorable—and negative! One candidate refused to send a DVD, telling the executive director to look on YouTube. First impressions count. A lot. Recalcitrance is NOT attractive.

Assume that all the members of a regional/community orchestra are amateurs. Our orchestra includes graduates of the country’s top conservatories. We know a thing or two about music. And conductors…

Don’t find out anything about the orchestra, or its locale, on your own. Nothing succeeds like apathy.

E-mail, cell phones, and other modern forms of communication are for kids. Get with it! Orchestras have been dragged kicking and screaming into the modern era: Facebook. Twitter. YouTube. But it’s not just about the ability to adapt to, and utilize, technology – the orchestra would like to be able to get in touch with you.

Go into overtime at the first rehearsal. Watch the clock, just in case no one else does. Your rehearsal technique will be closely observed so efficient use of rehearsal time will be high on the list of qualifications. Some of our candidates were obviously panicked when they saw their time evaporating.

Ignore the concertmaster. The concertmaster is (usually) a respected member of the orchestra, one whose voice carries weight. You don’t have to bow and scrape – but during the rehearsal, just make sure to ask if he/she has anything to add or any questions.

Express disappointment at the quality of the orchestra. Don’t assume that any conversations you have with members of the board or orchestra are confidential. Any remarks, negative OR positive, will find their way to the search committee. Comparisons with other orchestras conducted by the candidate, especially negative ones, are not especially welcome or looked on favorably. Besides, we already know our strengths and weaknesses. From your first contact to that final goodbye at the airport, you are under scrutiny.

Know everything. It’s okay not to have an answer for everything, especially as each orchestra is different.

It’s a big world out there. Well actually…it couldn’t be smaller. News, good or bad, travels at the speed of light. Treated an orchestra badly? Had an affair with an orchestra member? Assume these are all public knowledge. One candidate was dropped from consideration when it was discovered that lack of preparation for another audition, at which he/she had been a finalist, had led to a catastrophe at the concert.

Don’t list real live orchestral musicians as references. Many candidates listed ONLY orchestra administrators, conducting teachers from the distant past, or board members as their references. Why? Did you anger everyone that played under you? Make sure you have good references from your players, especially principals or concertmasters.

Let’s face it: there are more ways to lose a job interview – any kind of interview – than to win one, and without being on a search committee, it’s difficult to see how the other candidates present themselves. Only the committee has a bird’s-eye view of the entire field. While much of the decision-making process is going to be out of your control, the basics are not. In order to make the initial cut, a conducting candidate should present a polished and complete application packet. To make it to the final cut, you need allies in the business – musicians should respect your conducting, not administrators (although administrators will be asked to address your energy, initiative, and fund-raising capabilities). The winner will (ideally) have it all: stick technique, musicality, rehearsal efficiency, audience appeal, and an interest in the community. At the smaller regional or community orchestras, conductors must also be something else: positive and encouraging. So you had it all but didn’t win the gig? Don’t take it personally. In the end, it’s not about being perfect – It’s about having the right fit.

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The author is concertmaster of a regional orchestra, holds a doctorate in violin performance and has played with many orchestras across the country.