Preparing of an Orchestral Audition

 Greetings Readers,

As the title of this post plainly states, I will be - rather academically - discussing my preparation for my audition with Lansing Symphony 2025. This will be a stark and pallid post, bone dry and direct. Typically, I prefer - when sharing my thoughts publicly - writing some-what more florid and elaborate content. I yearn to be a writer, maybe a poet. This is not that post. And away we go...

I am sharing my method of preparation below, and some detailed discussion of the excerpts and pieces.  

Final preamble:

There are a myriad of brilliant sources of double bass instruction on the internet. Of course, there are master teachers and pedagogues out there around the actual real live in person world. Yes, the internet and teacher, but also books, too! None of these need any promotion from me, yet I will list a few of the excellent online-resources. The four most prominent internet sources are ToneBase - Bass, Double Bass HQ, Discover Double Bass, and String Virtuoso. Youtube contains a robust repository of videos, but as a platform does not specialize in bass. I would be remiss if I did not mention Orchestra Excerpts.com

Part I: The List

This is the Lansing Symphony 2025 audition repertoire list:

For those who are not in the know, this audition repertoire list is an ideal example of a standard list. These selection that the symphony is expecting to hear are typical excerpts from the symphonic repertoire. To put a finer point on the matter: one may reasonably expect to see each of these excerpts on any audition list around the world.  

That being said, it is - IMO - a short and approachable rep list. In addition to being standard, these particular selections, from Mozart to Strauss, are some of the most playable excerpts. I should also be clear that being a "playable" list, I do not wish to suggest that it is easy. These are not simple, obstacle free, shake-and-bake excerpts. All of these require major, advanced ability. 

What I find elegant about the list is that if one can meet all of the criteria of excellence in these selections, then it is abundantly clear that the player is highly capable. Those criteria are:
1) accurate to perfect intonation
2) accurate to perfect rhythm
3) clear and accurate articulation
4) correct dynamics
5) approximate speed
6) appropriate style nuance

To put it simply: ya gotta play in time, ya gotta play in tune, and ya gotta sound like you know how the piece goes. 

I'll address the choice of solo later, so let's dive into the list.

Part II: How to approach the list

The very first endeavor is compiling the excerpts according to the list.  

One can find these in the printed in the Zimmerman books published by International Music, or through IMSLP, or at Orchestra Excerpts.com.

Let's go one by one.

The excerpts are listed in the following format:

Composer Last Name, Title of the symphonic work, the section or movement of that larger work, the measures to be played (here written as "mm." for measures) + additional information for clarification.

The first listed is:
Beethoven [Ludwig van] Symphony no. 5 mvmnt. 3, mm.1-96; pick up to mm. 141-160 (second ending, no repeat).

We typically call this the scherzo and trio.

The second step to acquaint yourself to the piece. Listen to the entire work! Listen to several different recordings/performances, and absorb the style of the work. 

While you listen, you may wish to also do some study of the piece to place it in its historical context.

Beethoven's 5th Symphony is - what historians and musicologists refer to as - a work of  his middle period. It is also known as the "Fate Symphony" and was written between 1804 - 1808. Fun fact, it premiered on a concert with his 6th symphony (the Pastorale). It is in C minor, and it is Beethoven's opus 67. 

Why are these details important? Because the help us understand the style. A Beethoven forte is different from a Mozart or Brahms forte. The type of articulation and stroke of the bow is not a one-size-fits-all mode.

I also think it is important to review the full score of these sections to understand and internalize what the other parts are playing. This is the intimacy of owning and absorbing an excerpt. 

I have performed this symphony several times, most recently at Carnegie Hall in New York City with the Fort Greene Orchestra. Despite my familiarity, I still listen to recordings. Four of note are:

Riccardo Muti: Philadelphia Orchestra
Michael Tilson Thomas: San Francisco Symphony
Josef Krips: London Symphony Orchestra
Carlos Kleiber: Wiener Philharmoniker

Of course, all the great orchestras in the world have a recording of this symphony. Listen to modern and classic recordings because style preferences change. Listen to L.A. Phil or N.Y. Phil, Chicago, Berlin, etc.

The third step is learn to play the part, which requires a dedicated approach. 

Start slowly, with a metronome. I always find it useful to play the scale of the key that is written, and a short etude to get into the mood and sonic sound scape. Then work through the part systematically, SLOWLY WITH A METRONOME. I suggest trying 20-30 clicks slower than the indicated tempo, but if that is too fast then start slower. The goal is to set in good habits from the beginning.