Auditions Revisited II: The Breakthrough
Tuesday, May 08, 2007
Greetings from Vienna!
There is yet another reason for this long absence – one which has been taking pretty much all of my free time which I would have been spending on writing blog entries such as this – the Bass Trombone audition at the New York Philharmonic. And I’m delighted that, as a result of the orchestra’s extensive audition process, I will be starting the position beginning with our Summertime Classics concerts in June. This is a great opportunity to explain my decision to pursue this career change, as well as detail some of the preparation involved in preparing for the audition.
When I started at the Philharmonic in 1997, it was the fulfillment of one of my dreams – to play trombone in a major symphony orchestra. It was also the perfect orchestra for me; close to where I grew up in NJ and near much of my immediate family, it also gives me an opportunity to collaborate with my former teacher, Joe Alessi, with whom I have a great working relationship and friendship.
When I first joined the orchestra, the Associate Principal position at the Philharmonic was ideal for my professional situation as well. In my prior position with the Pittsburgh Symphony, I needed to perform at a very high level out of the starting gate with very little time to grow into the job: an incredibly daunting task given my age (20 years old) and lack of experience. Moving to the Philharmonic allowed me the opportunity to learn how to be a Principal player gradually, both by playing the First Chair myself and by watching the way someone who is arguably the best in the business do it. Over the years I have become extremely fond of both this orchestra and its musicians, who in many cases are my musical family, and despite recently auditioning for Principal trombone positions in other orchestras, my heart has always truly been in New York.
At the same time, after performing all the duties of the Associate Principal position for the last 10 years, I’m ready for a change. I liken my current position as Associate to being a backup shortstop for the New York Yankees. It’s a terrific position to be in – you play for what is arguably the best team in baseball (though in the Yanks’ case they may not be following their losing woes of last week), knowing that every day you have a chance to be a part of something very special, and function primarily as Derek Jeter’s backup. In addition, you fill out your season by subbing in at all the infielder positions, either because of injury or illness, or because of the need for someone to get a break because of the heavy workload.
In my case, the variety of playing Bass Trumpet, Euphonium, some second and bass trombone, and Principal for good rep from time to time usually keep me busy enough to have weeks to look forward to during the weeks that I might not be terribly busy. If I were to remain Associate Principal for my career, it would have been a highly rewarding and enjoyable job.
However, in baseball terms, you go into the position knowing that when the Yanks play the Red Sox in the AL Championship Series, you’re going to be sitting on the bench unless one of the guys you’re backing up just can’t make it onto the field. It’s part of the job description for you to be ready to play at any time for any reason with any given notice. It’s one of the challenges of the job – being prepared to play even when you might not get the chance for a while. It’s an extremely important position, and in an orchestra such as the Philharmonic a very necessary one. Yet at this point I’m ready to be a fuller participant in the on-field action.
Thus the question, why switch to Bass Trombone? And the short answer is, simply put, that I absolutely love playing the Bass Trombone parts at the Philharmonic. And, though my road to the position may have been unconventional (going around the block to get to next door, so to say), it was a road nevertheless.
When I was at Juilliard, some of my classmates might remember me practicing, from time to time, the bass trombone parts to Fountains of Rome or Ride of the Valkyries. Ever since my earliest studies with Joe, I worked on my low register, trying to get it both full and gritty – I love sinking my teeth into that low ‘D’ at the end of Berg’s Drei Orchestücke! This continued when I was in Pittsburgh, and I occasionally covered the bass trombone part for certain rehearsals or concerts (even though I didn’t have a bass trombone on which to play it!). In NY, playing Bass Trombone for Don Harwood was part of my job description; when he was off for a week, it was my responsibility to cover for him.
In this capacity (and in covering for him when he’s been ill or unable to make it to a rehearsal or concert for weather or other reasons), I’ve had the opportunity to play bass trombone for Strauss’s Ein Heldenleben, Till Eulenspiegel and Don Juan, Shostakovich’s First, Fifth and Eighth Symphonies, Brahms’s First and Fourth Symphonies, Tchaikovsky’s Manfred Symphony and Swan Lake excerpts, Rachmaninoff’s Second Symphony, Prokofiev’s Fifth and Seventh Symphonies, Copland’s Four Dance Episodes from Rodeo, John Adams’ Short Ride in a Fast Machine, Stravinsky’s Complete Firebird Ballet, and quite a few others that don’t come to mind right now. These experiences have only served to reinforce the love that I have of the low end of the trombone register.
Over the past couple of years, knowing that at some point Mr. Harwood would retire, I had the chance to seriously consider the question: “Am I ready for a career change? Would I truly be happy playing bass trombone?” And from the first time I asked myself the question, my answer has been, “Are you kidding?! Absolutely!”
So, as this blog has gone on long enough, I will end by saying that I am thrilled to be taking on this new position with all its challenges. It’s something I have only been able to dream about, and I’m excited that this dream has now turned into reality.
Best to you all,
Jim
Greetings from Vienna!
There is yet another reason for this long absence – one which has been taking pretty much all of my free time which I would have been spending on writing blog entries such as this – the Bass Trombone audition at the New York Philharmonic. And I’m delighted that, as a result of the orchestra’s extensive audition process, I will be starting the position beginning with our Summertime Classics concerts in June. This is a great opportunity to explain my decision to pursue this career change, as well as detail some of the preparation involved in preparing for the audition.
When I started at the Philharmonic in 1997, it was the fulfillment of one of my dreams – to play trombone in a major symphony orchestra. It was also the perfect orchestra for me; close to where I grew up in NJ and near much of my immediate family, it also gives me an opportunity to collaborate with my former teacher, Joe Alessi, with whom I have a great working relationship and friendship.
When I first joined the orchestra, the Associate Principal position at the Philharmonic was ideal for my professional situation as well. In my prior position with the Pittsburgh Symphony, I needed to perform at a very high level out of the starting gate with very little time to grow into the job: an incredibly daunting task given my age (20 years old) and lack of experience. Moving to the Philharmonic allowed me the opportunity to learn how to be a Principal player gradually, both by playing the First Chair myself and by watching the way someone who is arguably the best in the business do it. Over the years I have become extremely fond of both this orchestra and its musicians, who in many cases are my musical family, and despite recently auditioning for Principal trombone positions in other orchestras, my heart has always truly been in New York.
At the same time, after performing all the duties of the Associate Principal position for the last 10 years, I’m ready for a change. I liken my current position as Associate to being a backup shortstop for the New York Yankees. It’s a terrific position to be in – you play for what is arguably the best team in baseball (though in the Yanks’ case they may not be following their losing woes of last week), knowing that every day you have a chance to be a part of something very special, and function primarily as Derek Jeter’s backup. In addition, you fill out your season by subbing in at all the infielder positions, either because of injury or illness, or because of the need for someone to get a break because of the heavy workload.
In my case, the variety of playing Bass Trumpet, Euphonium, some second and bass trombone, and Principal for good rep from time to time usually keep me busy enough to have weeks to look forward to during the weeks that I might not be terribly busy. If I were to remain Associate Principal for my career, it would have been a highly rewarding and enjoyable job.
However, in baseball terms, you go into the position knowing that when the Yanks play the Red Sox in the AL Championship Series, you’re going to be sitting on the bench unless one of the guys you’re backing up just can’t make it onto the field. It’s part of the job description for you to be ready to play at any time for any reason with any given notice. It’s one of the challenges of the job – being prepared to play even when you might not get the chance for a while. It’s an extremely important position, and in an orchestra such as the Philharmonic a very necessary one. Yet at this point I’m ready to be a fuller participant in the on-field action.
Thus the question, why switch to Bass Trombone? And the short answer is, simply put, that I absolutely love playing the Bass Trombone parts at the Philharmonic. And, though my road to the position may have been unconventional (going around the block to get to next door, so to say), it was a road nevertheless.
When I was at Juilliard, some of my classmates might remember me practicing, from time to time, the bass trombone parts to Fountains of Rome or Ride of the Valkyries. Ever since my earliest studies with Joe, I worked on my low register, trying to get it both full and gritty – I love sinking my teeth into that low ‘D’ at the end of Berg’s Drei Orchestücke! This continued when I was in Pittsburgh, and I occasionally covered the bass trombone part for certain rehearsals or concerts (even though I didn’t have a bass trombone on which to play it!). In NY, playing Bass Trombone for Don Harwood was part of my job description; when he was off for a week, it was my responsibility to cover for him.
In this capacity (and in covering for him when he’s been ill or unable to make it to a rehearsal or concert for weather or other reasons), I’ve had the opportunity to play bass trombone for Strauss’s Ein Heldenleben, Till Eulenspiegel and Don Juan, Shostakovich’s First, Fifth and Eighth Symphonies, Brahms’s First and Fourth Symphonies, Tchaikovsky’s Manfred Symphony and Swan Lake excerpts, Rachmaninoff’s Second Symphony, Prokofiev’s Fifth and Seventh Symphonies, Copland’s Four Dance Episodes from Rodeo, John Adams’ Short Ride in a Fast Machine, Stravinsky’s Complete Firebird Ballet, and quite a few others that don’t come to mind right now. These experiences have only served to reinforce the love that I have of the low end of the trombone register.
Over the past couple of years, knowing that at some point Mr. Harwood would retire, I had the chance to seriously consider the question: “Am I ready for a career change? Would I truly be happy playing bass trombone?” And from the first time I asked myself the question, my answer has been, “Are you kidding?! Absolutely!”
So, as this blog has gone on long enough, I will end by saying that I am thrilled to be taking on this new position with all its challenges. It’s something I have only been able to dream about, and I’m excited that this dream has now turned into reality.
Best to you all,
Jim
posted by Jim Markey at 12:52 PM
