Tuesday, September 23, 2014
Inquirer Daily News

Blind Auditions at Orchestras? Hardly.

As if anyone needed more proof that the audition screen really is a smoke screen, and that the race of the person auditioning is often known during the audition process, here are two recent examples of orchestra tryouts taking place in public.

Blind Auditions at Orchestras? Hardly.

As if anyone needed more proof that the audition screen really is a smoke screen, and that the race of the person auditioning is often known during the audition process, here are two recent examples of orchestra tryouts taking place in public.

The New York Times writes about Burt Hara (formerly principal clarinetist of the Philadelphia Orchestra) auditioning in performance at the New York Philharmonic.

And flutist Mathieu Dufour has ended his flirtation with the Los Angeles Philharmonic after he auditioned that orchestra for several months. The Frenchman decided to go back to his old job in Chicago.

What's the relevance to race? Orchestras have defended the low number of African American members by saying auditions are played from behind screens, therefore race cannot be a factor. In a column last year I listed all the ways musicians get around audition screens, and these two recent stories drive home the point.

It's not just for principal posts, by the way, that the audition screen isn't used. It typically comes down in the final round of any audition.

More important, as I wrote earlier, there are many other ways in which the audition screen is rendered useless.

The "pipeline" question? Some observers say there just aren't enough African American players of a high enough caliber auditioning. I don't buy it. First of all, great African American musicians are now making it into the Baltimore Symphony Orchestra (Shea Scruggs), the San Diego Symphony (Demarre McGill) and the Metropolitan Opera orchestra (Anthony McGill). Jeff Scott, hornist of Imani Winds, is exactly the blend of high energy and polish any orchestra could use (though maybe he's happier not being tied to an orchestra). Why hasn't some big orchestra scooped up freelance trumpeter Rodney Mack?

To look at a recent concert by the Curtis orchestra, the pipeline, if it is a problem now, won't be a problem much longer. But will these players make it onto substitute lists at major orchestras? Will big ensembles court them as they have courted Hara and Dufour? 

Despite the declared rules and guidelines, an orchestra will hire the player it wants to hire. If the player in question is African American and the orchestra wants to hire him or her, the orchestra will find a way. That hasn't happened enough. I'm not suggesting I've seen overt, stated racism of the easily recognized kind. But the neglect and denial surrounding this issue is still racism, passive though it may be.

 

About this blog
Latest news and reviews from Philadelphia's vibrant art scene.

Arts Watch
Latest Videos:
Also on Philly.com:
Stay Connected