Holly Mulcahy published an article at Neo Classical about audition requirements. It serves as a follow-up to something she wrote in 2018 on the topic and spoiler alert: not much has changed for the better.
“Over the last four years, the social justice movement has had a positive influence on the way orchestras approach programming while some are producing DEI (diversity, equity, and inclusion) statements.
As we head towards what we think is the light-at-the-end-of-the-tunnel of this pandemic, orchestras are once again sending out auditions and job opening announcements.
Even though I’ve only hit the repertoire lists of orchestras advertising in the January International Musician magazine, it was a fair representation of things to come…. which seems to be more of the same. With the exception of Philadelphia Orchestra’s Associate Concertmaster audition list, which included one work by a living female composer, Gabriela Lena Frank, every other orchestra’s list was standard as ever.”
There’s a fascinating discussion unfolding on her Facebook wall that really got me thinking. So much so that I plan on writing something next week about how and why audition repertoire is connected to the larger audition process (and you can’t address either as mutually exclusive goals). In the meantime, swing by Mulcahy’s post to begin thinking through these issues.