Chicago Symphony Orchestra (Assistant Principal Flute)- February 4, 2020

This one I took for the experience, and it was nice to release any expectations because the CSO is one of the top orchestras in the country, maybe the world. My thinking is that someday I would like to be in an orchestra like this, so I just wanted to see what it would be like.

The CSO offered an option to send in a recording, after which the committee could advise you on whether or not you should attend the live audition. I opted to not do this, because I knew I would be probably be advised not to come, and I wanted to go for the experience.

The list was grueling! A lot of entire works (entire Mozart concerto with cadenzas, Daphnis and Chloe) and unfamiliar works (Verdi, Harry Potter), and C flute, piccolo, and alto. A good part of preparing this list was that I knew everything after this would feel easy and manageable. I honestly felt that if they asked me some things, like certain parts of Daphnis, I would be unable to play it at all.

Cathy advised me that even though the list was overwhelming, to focus on the standard excerpts because they are far likely to be asked… and she was so right!

This audition was unusual in a couple of ways:

1. There was no semi-final round, only preliminary and final.
2. Instead of receiving a list of excerpts for the prelims, we were told to start with Mozart and then they would give us the excerpts one by one.

I started with Mozart and then they let me play the first excerpt, which was the fast part of Leonore, then I got dismissed.

I had about two weeks between Silicon Valley and Chicago, so I really worked on harmonics and controlling the sound in the piano dynamic. This definitely improved- I didn’t shake on the long, pp D at the end of Leonore, but it did cut out for a split second. Still needs some work.

The other big thing Cathy told me at the end of my lesson was that even with all of the long stressful list and nervousness, focus on beautiful sound and beautiful phrases, telling me that that was my strength. It was interesting to listen back to the recording of my lesson and hear her say that, because I realized I had a hard time accepting that compliment. I was told in my development several times I was a strong technical player, but lacking in musical expression. So when she told me that, I deflected it, saying I wasn’t that nervous about Chicago because I was going just for the experience (I knew I had no chance). But she kindly and patiently repeated her compliment and said I should definitely take the audition seriously, telling me I had a beautiful sound and beautiful musicianship.

I mean, that is a huge compliment from someone who really knows what she is talking about, and I realized after that I needed to take my own musicality more seriously. Major epiphany for me.

The Colburn School (Professional Studies Certificate)- February 12, 2020

Just over a week later, preparing a very comfortable and familiar list for Colburn- Mozart G I and II exposition, Ibert I, Scherzo, Faun, and Sarabande from the Bach Partita. I did decide to play from memory but these were all things I’ve had memorized for years.

If you have met Jim Walker, you know he is such a sweetheart, and he really made the whole experience so nice- playing for us with the Colburn flute studio, and greeting us so warmly on the stage. He let us pick what we wanted to start with. I was first to audition and I started with Mozart I, exposition because I was most comfortable there and have started a lot of auditions that way.

I continued to Mozart II, then Ibert, Bach, Scherzo, and Faun (no shaking this time!!). Then a bit of sightreading, which was not too difficult. Overall felt pretty strongly about my performance. I had spent the week reminding myself that I was beautiful and expressive. I also sort of unlocked a more brilliant forte sound as a result of a comment Cathy made at my last lesson about opening the upper register sound. It is really a new dimension in my sound, but of course I haven’t got complete control over it in a week. So I think I was able to show that sound, but there was again muscle fatigue and this time it resulted in cracking more notes than usual and less clear articulation. But I controlled the piano beautifully in Faun, so yay progress!

Did not advance to the finals, which I was frankly surprised by. And I felt pretty frustrated immediately after, which I occasionally feel. Most auditions I am pretty level headed and know this is a long journey, etc, etc, but I guess I was surprised by the result even though I felt it was a strong performance. You never really know, I guess. I advanced to semi-finals once at an audition about a year ago and I’m definitely better now. It’s totally not objective.

I always let Cathy know how it went, my takeaways, and feelings, and this time I shared my frustration. She was so kind, reminding me how difficult and competitive it is, and her words of wisdom and understanding.

She is a big reason why I’ve felt more generous lately about sharing my experiences with younger flute players. I plan to continue to share my audition experiences in the future on the blog.

I am auditioning for the New World Symphony on March 2 in LA, and Dallas Symphony Orchestra on March 16. I have also sent my resume to the National Symphony Orchestra for the second flute audition in May, so stay tuned 🙂

Good luck with your auditions!!!!!!

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