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On the horrors of seating auditions...

Remember how I was raving about our brand-new, latest model grad student? Okay, but I do. Apparrently, she thinks that we (the cello section) don't take orchestra as seriously as we should. I ask you, how seriously ahould we take a class that's one credit for four hours a week? I mean, most of us make an effort to come every week, and it's not like the music's that difficult. But she seems to see it differently, so now we have to endure yet another round of seating auditions. She told us that she's doing it in an effort to make us practice the music BEFORE the concert. Great. Like one lousy audition is going to make those of us that don't practice turn over a new leaf. And besides that, auditions aren't a true means of distinguishing dedication. They're simply a measurement of how well you play an audition. And I can tell you what'll happen right now. The same people that rush and come in early or late and can't count are also the ones who play auditions well, so nothing will change, except that the few of us who actually CAN sight-read are going to be stuck behind them, which is very frustrating. Not that it really matters where we sit. The music on the last stand is ecxactly the same as the first. Auditions are just a trick, since the section leaders believe that by setting us against oneanother, we'll play better. Now I'm going to have to deal with the fallout of bruised egos and bitter resentment. Yay....
I'd try to organize a resistance, but music students aren't much for solidarity. Last time, we had it all planned out that no one would audition. It would have worked based on the whole rule of the mob and such. But no, someone had to go in and play, and that set off a chain reaction.
And guess what our esteemed conductor is having us play? Nothing new, god forbid, but Mozart 35 and Wagner's Rienzi, both of which I rememeber playing two years ago in the same orchestra. I think he just rotates the program. The Mozart I don't mind too much, though it's hard. But the Wagner is long and repetitive and really melodramatic, which I object to in principle. It's one of those pieces that make you glad you're just playing the overature. Gof help me, I don't think I could sit through an entire Wagner opera. I'd either walk out laughing or commit suicide halfway through. Carmen's about the heaviest I can stand, and even that one is so damn depressing I end up moping around afterward.
That's one thing I like about the Italian operas-they may end in tragedy, but it's formal, polite dying.


( 2 comments — Leave a comment )
Mar. 5th, 2002 06:49 pm (UTC)
poor Theresa
Hey...at least you've played the pieces before. Won't have to learn something new...
Mar. 6th, 2002 01:17 pm (UTC)
Ugh! Why does this society place so much weight on competition?! Like the "I'm better than you are" mentality is a good thing... We had the same thing in choir, although the competition was over solos. All it did is produce insufferable divas while giving the rest of us even lower self esteem. Competition sucks.

*hugs* But we know you're great, Theresa. :)
( 2 comments — Leave a comment )



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