Youthful Auditions

Listening to young performers prepare competitive audition pieces, I am struck [a swift, firm blow] by the double-standard tolerated by many players.

Firstly, from a technical perspective, students don't always demand the elements of a 'complete, finished performance' that is so often required in much of their ensemble experience. For example, most students would be mortified if their performing ensemble had to stop midway through a piece -- but often, the same students are casual about any awkward interruption in their own piece.

Secondly, there exists a lack of understanding that interpretation is a process that matures over time. It is not a last minute consideration. Maturing an interpretation and mastering technique both take time and effort. There are musical (and technical) problems to be wrestled with and composers don't always make their intent simplistic or obvious.

Ultimately, we try to communicate meaningful, organized, logical ideas that express the very nature of why a piece exists. The performance should continuously engage the listener. Our technique will either: (a) provide us with the necessary tools to communicate, or (b) limit our musical language as to what can be communicated, or (c) because of error and inconsistency detract from the substance of what is being communicated. Nonetheless, communication remains the goal. Connecting with the listener. The performer's preparation strategy has to focus both on what needs to be communicated in a piece and ensuring that technique serves that communication -- never detracts from it.