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What will my computer do? Your computer will mine Bitcoin for you. Jobs were filled before potential candidates knew they were open. Again, if there was an audition, it was a formality if not actually a charade. One reason is that talented prospects gravitate to teachers who are known to have leverage in the music profession.
In some instances, too, the clubby little groups that ruled over auditions in the typical orchestra of a generation ago might be composed of superior musicians with an interest in keeping their orchestras staffed with the best people.
The Metropolitan Opera's auditioning practices, particularly in the last three years, have grown increasingly concerned with fairness. While not yet a model of blind justice, perhaps, they typify the more open kind of system that has been evolving throughout the United States. Seven weeks before the preliminary auditions, notice of the vacancy was sent to the players' committee. Advertisements were placed in two American Federation of Musicians periodicals: Local 's Allegro and the International Musician.
Copies of both advertisements were sent to representatives of minority groups. A preliminary audition drew 23 candidates of whom 7 were selected to compete in the finals the following morning in List Hall of the Opera House. All the test music had been sent to the candidates several weeks, in advance of their appearance. Eleven judges sat in List Hall, scattered about in an attempt to discourage discussions about the candidates, who played behind black cloth screens, a device often used in such auditions to try to insure anonymity.
The use of screens is, however, no guarantee that identity can be kept secret. Some orchestras such as the New York Philharmonic do not use them, on the grounds that they are easily circumvented and that occasionally visual judging of a candidate's technique is important in deciding whether to hire him. But other leading orchestras, including the Boston Symphony and the Chicago Symphony, employ screens, and their use is becoming common throughout the country.
Some who advocate screens and other devices to promote anonymity are convinced that they at least provide an atmosphere of fairness. Those opposed contend that not only is the screening system cumbersome but also that if a cabal of judges cares to conspire to choose a particular player, no rules or safeguards can stop them.
Candidates playing behind screens have been known to cough in a specific way, to tune up using prearranged notes or to flash other secret signals to judges. The other day at the Met audition, the candidates had been forbidden to speak or to tune up after going onstage. When one of them apparently forgot the rules and began sawing away on the open strings, Mr. Di Janni went backstage and asked other candidates to do the same thing, to forestall try conspiracy accusations. Does the System Work?
Met auditions are generally heard by about a dozen judges, each of whom has one vote. Voting on the finalists this time were 11 men, among them the Met's principal conductor, James Levine.
Does the Met's system work?
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