Episode 49: How to become a soloist + competitions - do we need them?

Get ready to dive deep into the world behind the brass curtain! In this episode, we'll unravel the intricate nuances of trombone competitions. I'll be questioning the very fabric of judging criteria, sharing candid insights into the influence of teachers, and exploring the real purpose of competitions. We'll also delve into the impact on musicians' development and the often-overlooked role of orchestral positions in shaping solo careers. Hope you enjoy!
00:00:00 - 00:03:48: The Paradox of Competitions in Music
* Exploring the historical significance of European trombone competitions, their impact on solo careers, and the paradoxical nature of competitions in the music industry.
00:03:48 - 00:06:13: The Blind Spot of Trombone-Centric Judgments
* Discussing the perspective of trombone players, the influence of personal taste in competitions, and the need for a broader, more musically relevant judging panel.
00:06:13 - 00:09:49: Conflicts of Interest and Lack of Fairness
* Addressing conflicts of interest in competitions, the compromised appearance of fairness, and the challenge of maintaining integrity in judging panels with personal connections.
00:09:49 - 00:13:35: Rethinking the Purpose of Competitions
* Questioning the true purpose of competitions, emphasising the need for relevance to a professional career, proposing the inclusion of agents on judging panels, and critiquing the current focus on preparation over performance.
00:13:35 - 00:19:22: Beyond Taste: A Call for Impartiality
* Advocating for an impartial judging process, drawing parallels with wine tasting, and challenging the simplistic judgment based on personal taste in competitions, with a focus
00:19:22:17 - 00:23:31:13 The Role of Competitions in Music
* Discussion on the impact of competitions on musicians' careers. Emphasis on the importance of adequate training and responsibility for both teachers and participants
00:23:31:15 - 00:24:52:15 Jury Feedback and Competition Integrity
* Insights into the jury feedback system in competitions. Calls for a more constructive feedback system.
00:24:52:17 - 00:25:45:02 Rethinking Trombone Competitions
* Critique of the current format of trombone competitions and a call for positive changes. Expresses the need to consider alternative perspectives, possibly involving musicians from different instruments in jury panels.
00:25:45:04 - 00:33:14:12 Becoming a Soloist: Challenges and Opportunities
*Exploration of the path to becoming a soloist, highlighting the experiences of successful trombonists like Christian Lindberg and discussing the role of orchestral positions in fostering solo careers.
00:33:14:12 - 00:36:56:00 Building a Solo Career: Advice and Reflection
* Reflections on defining a soloist, the importance of determination, and the role of orchestral positions in solo opportunities. Offers advice on aspiring soloists and expresses gratitude for the community.

[@danparker8254]

I think it was Jay Friedman that said orchestral auditions are all about solo work but the job is about ensemble playing. (Or something like that)?

[@jorgefelipenieto]

Such excellent "statements" you said in this video.
Thank you for create this and talk in a very open and honest way, about these topics!

[@ericrichmond8730]

Very excellent points. I will share this information with my students as I ready them for college.

[@1229tedwilson]

It seems to me that many of the observations here can also be applied to a wide range of other artistic pursuits. For example, the focus on technique over musicality applies to other fields as well. Also, the observation that decisions about juries say as much about the jurors as the competitors. Of course there is also the subjective matter of taste and the general expectations of the panel.

[@harneferoliveira9083]

Good thoughts! Thank You.

[@aasavickas]

Please keep it up. This is fantastic.
I have felt this way for years. I have decided not to audition for american orchestras anymore. After hearing top level trombone players in major american orchestras; they don't love music and play in a boring careful technical way. Further, there is no joy or excitement in their playing.
I suspect a major reason many American Orchestras are going bankrupt is because the audiences are bored. Why leave my house and pay a bunch of money to hear technically perfect but boring playing when I can stay at home and hear Bernstein conduct Chicago from 1965 with a good IPA?
That said, the jazz players and players from other genres are not only nicer folks to hang out with, they love music and are not afraid to miss a note because they are really trying to say something and move the audience.
When people ask, I always say, I am a musician. Many of these less than inspiring trombone players consider themselves trombonists.

[@trombonetimo]

Even Chicago Symphony players talk about how American Orchestras are going for a less exciting sound. I also notice how things sound mellower these days, which is a shame because I just got a small mouthpiece to increase the brilliance in my playing :). Anyways, I gotta go practice before I can convince anyone to accept something more exciting.

[@KanyawHtaw1]

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