Morgensterns and the Musicians' Union (MU) are pleased to announce a new Continuing Professional Development initiative.

We are launching three pilot Orchestral Audition Masterclasses in January and February 2013 to help musicians with professional orchestral experience refine their orchestral audition skills.

Participants will perform orchestral excerpts to a panel of experienced orchestral principals and an audience. They will then, crucially, receive feedback and suggestions on their performance - something which rarely happens at a professional orchestral audition.

MU National Organiser Diane Widdison says: "Audition Masterclasses are an exciting contribution to the MU commitment to providing Continuing Professional Development to all members"

Please complete our Application Form if you would like to take part in our Audition Masterclass series. Places are still available for the masterclasses listed below, and we are also building up a reserve list for future masterclasses.

The pilot masterclasses will take place on
• January 13th 2013: 10am - 1pm (RCM, strings masterclass)
• January 13th 2013: 2.30am - 5.30pm (RCM, strings masterclass)
• January 31st 2013: 10am - 1pm (Fairfield Halls, Croydon, brass)
• January 31st 2013: 2.30am - 5.30pm (Fairfield Halls, Croydon, woodwind)
• February 10th 2013: 10am - 1pm (RCM, strings & woodwind)
• February 10th 2013: 2.30am - 5.30pm (RCM, woodwind masterclass)

Principal Viola at the LSO Edward Vanderspar says: "You need instant focus and poise, both technically and musically, to be able to play your best in such a challenging and judgmental environment as an Audition"

Orchestral Audition Masterclasses - Questionnaire Responses

We asked our clients the following questions

• Do you think that the Orchestral Audition Masterclasses proposal would provide a valuable resource for the profession?
• Would you be interested in becoming involved, either as a member of the audition panel or as a participant?
• Do you have any thoughts about how the masterclass day should be run?

Selected responses

Would Masterclasses in Orchestral Audition Technique provide a valuable resource for the orchestra profession?

I think it sounds like a wonderful idea! I would love to expand my freelance orchestral network.

It is a fantastic opportunity for players to get advice about something which can be a huge struggle. Speaking from personal experience it is very easy to go to audition after audition having no luck and (apart from your own playing) not knowing what aspects of your presentation need improve. The insight from a panel's perspective would be invaluable to players.

I think the masterclasses would provide an extremely valuable and much needed resource for the profession.

I think the idea could be beneficial and welcome. I think often there are real difficulties for young (and older!) players when, after weeks of preparation, so much is at stake on 5 mins playing, sometimes to a panel who, with the best will in the world are very busy themselves and can appear tired and / or disengaged. So any opportunity to "practise" for this scenario, receive advice, constructive feedback, and the reminder that life goes on and there will be other opportunities and every performance can be a learning experience; this is all good. Just for the performer to know that experienced musicians have developed strategies and know what they are going through and can share insight is immensly valuable.

I am delighted that you are undertaking this project. There is a huge lack of understanding of the process of auditioning and forming a freelance career and I would love to be involved in addressing it.

I think the masterclass in audition technique is a fantastic idea! One of the most daunting things I can remember is leaving college and then going for that first audition- everyone seemed to know what they were doing except for me........ This obviously wasn't the case but I think it's how a lot of people feel. With work getting harder and harder auditions are also becoming hard to get so any preparation in this area would be very beneficial for musicians new to the profession.

I think that is a great idea.  I think it would be a valuable resource for professional musicians, as there seems to be little in the way of support after leaving college. 

I was very interested to read your proposals on Audition Technique masterclasses, as this is, very much, the window of opportunity for a young player trying to break into the profession. Standards, nowadays, are very high, and the slightest "edge" that you can gain over your rivals for an orchestral chair, could be critical. Nothing can replicate practice, so practice in negotiating the "crucible" environment of an audition can only be invaluable.

Yes I do think that the auditions sound like a good idea for those of us who have not yet managed to get an audition, or who are just about to start auditioning it would be a great introduction to the process.

I'd like to sit on the panel

I would be happy to be involved having been on both sides of the audition process many times over the last 30 years!

I would love to be involved in your project, either as a participant or member of the audition panel

I would be interested in becoming involved both as a panelist and as a participant, depending on how the day would be run... having often wished I knew how to play as well, as I can play in an orchestra, in that audition situation.

Being a panel member would be of interest, as this gives a different perspective and food for thought about how one comes across to a panel after hearing the same pieces lots and lots of times in a row. Good insight into how to stand out from the crowd.

I'd be happy to assist on a panel, if I am available but I expect there are many far more qualified than myself.

I'm interested in being involved, though spare time is short these days. This is something I focus on in my individual teaching when orchestral excerpt exams come along, which is often at the Royal Northern. Anything I can do which can be useful for you for this is at your disposal.

Having both sat on many audition panels over the years with WNO, taught performance technique in the RWCMD, and also sat on many orchestral excerpt examination panels, I should welcome the opportunity to participate as the member of an assessment panel.

With my experience in presenting ABRSM seminars, twenty five years in the profession and sitting on various boards for adjudicating and auditioning I feel I have much to contribute to the project as a member of the panel.

Yes I would be happy to be involved on the audition panel- I have 14 years on auditioning experience and would love to pass some tips on!

I have both played at auditions many years ago, and have run countless auditions in the LSO of which I was in charge of violin recruitment for over 5 years. I could offer my services as a member of the audition panel if you so required.

I would be happy to sit on a panel as I set up and run the mentoring scheme at the Royal Ballet Sinfonia where final year and post grad pupils come and audition to us from the RAM and Birmingham Consevatoire. Those selected then come and join us for some rehearsals and I deal with the report forms. I have also sat on many audition panels when normal orchestral vacancies have occured over the years

I'd like to participate

I would find this very useful as I am currently doing various auditions, and it would be good to get some feedback on how to improve in these situations.

I would really like to participate. I could use some real feedback. I have done two very major auditions lately and have only been put on the extras list. Of course we get no feedback on that!

It would be good to participate in a day where you get to try out a sample audition, observe a panel and other people's auditions, and most importantly to be able to get feedback on the whole process - possibly in the form of the panel writing notes and any relevant notes from any observers also collected?

Although a potential career is not under examination, the panel may well consist of people who could be in a position to help or hinder a Musician's career, and so preparation is essential.

Encouragement is probably more important than censure, while guidance in overall presentation can only be of benefit to the potential auditionees.

I think it would be good to make the audition experience as close to the real one as possible and maybe it's good to incorporate the horrid elements like a communal warmup room and playing on a concert hall stage, possibly with a large panel too. This would make it a very different experience from the orchestral auditions everyone does at college.

I think it would be useful to mix up the instruments both in the panel and in the participants. There are sometimes things people do on their own instruments because of a technical difficulty intrinsic to that particular instrument, but which makes no sense musically or that would sound silly to a different instrumentalist. It would make make more interesting listening for an audience. Though it is useful to hear the same excerpts played by different players one after another. Perhaps could group a few of the same instrument, then change instruments and put a few of the same in a row.

There is no point in going to audition for a job the applicant is obviously not qualified to do. In my experience I have heard players auditioning for a Principal position in a Symphony Orchestra when they simply do not know the most basic works of the symphonic repertoire. I have heard players with a wonderful high register but poor low register auditioning for low horn jobs. We had someone who applied for a timpani job because they 'thought they could do it with a bit of tuition'.

A "Refresher course" for more seasoned players

although I have been earning my living as a freelance musician - mostly from orchestral playing - for 20 years now, I still would benefit from the masterclasses you propose. I sometimes do auditions for jobs now, and wonder what I should do to improve my performance. Often, I feel that I would do well at the trial stage, because I have plenty of professional experience, but I am much less comfortable in an audition situation, and fail to show myself off well at this crucial stage.

A learning experience

Lack of response from panel in auditions is frustrating - the opportunity to talk to professional musicians would be invaluable.

I would love to take part- even just watching would give me a great insight- you never get to see other players audition so to watch someone else audition is very interesting.

A masterclass format is potentially an even more valuable experience than consultation lessons as one can learn from listening to others as well as playing.

Research the section you are wanting to join. If you want to fit in you may need to adapt your choice of clothing or footwear slightly!

I think that it would benefit potential auditionees enormously, if they can learn to "perform" within the very arduous remit of an audition, as that is the crucial element that potential employers want to hear.

Absolutely key. If someone is applying for a particular job get online and see what that orchestra/opera/ballet company is doing this year and what they did last year. Look at the parts. Get a lesson from a player working in the same field.

Suggestions & general comments (sightreading)

Dealing with sight reading. Details, articulation, perfectionism, preparation and technique of excerpts; phrasing decisions and style based on which group you are auditioning for; general communication/presentatino, nerves etc on the day;

Auditions I have played in have all been very different. Very few have had sight reading just shoved in front of you, usually you are given it to look at when you arrive before the audition, or are told about it before the audition day. Although I remember having to sight read a piece to the entire LSO viola section many years ago.

It might also be good to ask participants individually what they find particularly hard in an audition - for example, I hate playing the concerto movement unaccompanied (which really challenged me in a recent CBSO audition), and have hardly ever been given sight reading in an audition. It would be nice to try out these more challenging things in a serious but non threatening environment.

Suggestions & general comments

Suggestions for other freelance playing/related opportunities i.e. Live Music Now, The Council for Music in Hospitals and other organisations which pay musicians to perform in venues other than concert halls provide valuable playing opportunities which I know helped me in the early days of my career to learn about building confidence, playing under different (and sometimes difficult!) conditions, and about being ready to travel, have repertoire prepared and be sufficiently organised to be at the right place in the right time with the right equipment and clothing to do a good job. Auditioning for these organisations is different from auditioning for an orchestral post, and would not require orchestral extracts, but might require the auditionees to be able to talk about themselves or the music - a skill which is also useful when playing recitals for music clubs etc. Perhaps the Masterclasses in Orchestral Audition Technique day could provide the opportunity to play to representatives from organisations like these, too?

Please also include me in CV preparation and self-promotion. My CV needs to be updated, and sent out to fixers. I have not covered enough potential opportunities for work, and need to widen my playing scope.

Where musicians flounder however, is on trial as they don't have a clear idea of how to play in a professional orchestra both in terms of their playing contribution and also their etiquette with colleagues - e.g. One cannot play like a soloist within a section - playing loudly and moving around a lot may gain you positive attention at music college but it will annoy professional colleagues, you'd be surprised!

Etiquette wise, being a good stand partner is essential, and small things like knowing how, where and if to direct any questions is something many graduates don't know, but make a huge difference to the outcome of a trial. For players who struggle with auditions, it's part instrumental technique, part audition technique (handling nerves, good preparation etc) and part knowing or anticipating what the panel might be looking for, which is something that can be remedied.

It might be useful to have some words of general advice about auditions etc from the panel, as well as comments on individual participants playing.

With my experience in presenting ABRSM seminars, twenty five years in the profession and sitting on various boards for adjudicating and auditioning I feel I have much to contribute to the project as a member of the panel. I have many ideas about how to single yourself out in a CV so you get the initial audition, preparing the extracts, dealing with performance nerves, delivering exactly what is required and moving forward in a positive way through either a well tested route or a portfolio career

It would be very useful to have some specific information from orchestras on exactly what they are looking for in candidates and I suspect this may vary somewhat from orchestra to orchestra.

It would be valuable to have an expert give a short talk on the do's and don'ts of auditions and a general overview of what is expected, what approaches to take in preparing orchestral excerpts etc

It's difficult coping with rejection and moving forward.

Tips for being on trial - many good players fly through the audition and repeatedly stumble during their trials & never understand why.

Those people who get trials are often the best soloists, even for 2nd seats. Audition panelists often don't know how to get the best out of auditionees - why play concertos in auditions? Never part of the job! When my partner was at Guildhall, no bassoons could play well in the lower register because they'd all been taught to be principals - professional conductors weren't impressed when they came in to work with them!

The areas covered look useful, perhaps the Audition technique could be expanded in its scope. Having just recently sat on a panel for the ENB viola auditions & from freelancing elsewhere what is apparent to me is that the standard of graduate playing is currently pretty high, the better players have what it takes to get through an audition easily and have all the right attention to the detail that is necessary to do so.

I have many ideas about how to single yourself out in a CV so you get the initial audition, preparing the extracts, dealing with performance nerves, delivering exactly what is required and moving forward in a positive way through either a well tested route or a portfolio career.

This service would be invaluable to young performers and would highlight the innovative reputation of your Diary Service. I would love to talk through some ideas.

Morgensterns essential diary management services...
Who are Morgensterns? read more
Morgensterns Diary Service is more than a simple musicians answering service and more than a simple musicians diary service. Morgensterns is a booking agency for orchestral and session musicians, with the special advantage of an outstanding client list and an expert teleteam who actively seek work for clients through our unique suite of fixer support services, our availability list service, who's doing my date list service and through our finely tuned, instantly responsive computerised diary management systems. Our teleteam are dedicated to offering clients, and the the fixers who book through Morgensterns, a caring, personal service where you're always a name, never just a number. Over the past 20 years we've established excellent relationships with all the leading UK orchestral and session fixers. And our unique suite of fixer support services generate a lot of work for our clients. And when fixers place bookings through Morgensterns, our teleteam strive to offer clients the highest possible professional representation - they're always evaluating options from a client's perspective. It's this special combination of efficiency, sense and sensitivity that makes Morgensterns so successful. "The great thing about Morgensterns is that they offer me choice. Their Teleteam refer dates, even when there are clashes in my diary - it means I'm always in control of my work. That's why I've been a client for over 20 years’ David Stewart, Bass Trombone.

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We respond quickly with your bookings Our reputation's built on our responsiveness - and as soon as we receive an enquiry, our teleteam jump into action. We'll try to contact you immediately, by telephone, mobile, email, fax and text, wherever you are in the world. It's always been important to our clients that we pass on their bookings fast - it's our speed that puts them in control of their work. And we're always happy to relay your replies to fixers. If the fixer needs to see a client profile, we can generate one, instantly, from our diary database, which shows an up-to-the-minute "snap shot’ of your recent work history. And, of course, there are also the 100's of client work-profiles available on our web site. "If I had the time, energy or talent to manage the complex, and all too often conflicting demands of my diary, then I would do it myself. How fortunate then, that I am able to delegate this onerous responsibility to Morgensterns. They provide me with a friendly and exceptionally professional service, which additionally benefits from an extraordinary instinctive touch, and a perceptive understanding of my own detailed requirements." Leon Bosch (Double Bass).

How do I keep Morgensterns up-to-date with my diary? read more

It's easy to keep Morgensterns up-to-date. Simply call, email or fax your diary to keep us up-to-date with your commitments. Please include date, time, orchestra and venue, for input to our database. Going away on holiday or for a family event? Please tell us that too. That's all you need to do. We then use our constantly updated database to put fixers in contact with the players they want to book, fast - for anything from a one-off gig, to an entire season's work. Remember, we need the most current, detailed information possible to do our bit properly. Ok, so how do you deal with clashes? We always refer all work, including clashes, directly to you, leaving you free to make up your own mind as to which gig to accept. Our mission has always been to provide an administration that puts you in full control of the work you want to accept, at all times. And that's just for starters. We also offer the benefit of all our other computerised fixer support services plus knowledgeable support and advice, should you need it, to help make sure that not only you, but also your career are heading in the right direction. "As a freelance musician, and orchestral manager, I find Morgensterns very helpful and understanding." Paul Allen (Orchestral Manager, English National Ballet)

Do I need to keep my Morgensterns diary up-to-date? read more

It's essential, for the efficient management of your diary, that you keep your Morgensterns up-to-date. After all we're a diary service, and Fixers expect us to know about the engagements you have in your diary. The following Morgensterns services depend on us holding accurate client diaries • Dealing efficiently with fixer booking requests • Providing accurate Availability-Lists • Providing accurate Who's Doing My Date Lists • Providing clients with backup diaries if they mislay their personal diaries • Ensuring your web profile work history is up-to-date Remember, we need the most current, detailed information possible to do our bit properly. "I remember talking to you some years ago when you were planning your new diary service, and I am very grateful now for its existence and for the way you run it. Your support in times of crisis has always been invaluable to the NSO, and your reliability and professional, but personalised service, is immensely appreciated by all of us here." Anne Collis, (National Symphony Orchestra, Managing Director)

What's special about your Availability-Lists, and how can they help me? read more

In a world where depping is so prevalent, you can imagine how busy we are providing musicians and fixers with our Availability List solutions. In fact they are one of our most heavily used services, and they enable us to take fixers through a comprehensive, A - Z list of client availabilities, for any category of instrument they require for their dates. Availability Lists increase your exposure and the chances of securing more work.     My surname ‘W’   Do you bother to look at all the options when you run through a list with a fixer? Most certainly, it's only fair that we do so! Our policy has always been to review all the players listed to give the fixer a complete picture of who might be available to accept their work. "Morgensterns are discreet, professional and knowledgeable, and I trust them 100%." Edward Vanderspar (principal viola, LSO)

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Who's Doing my Date Lists, are invaluable when an emergency strikes... "my car is playing up and I need a lift to the gig in Birmingham today. Can anyone help me out?". They're also valued by fixers when, for example, a rehearsal venues change, and the fixer needs a quick way to identify the clients Morgensterns teleteam need to contact - another reason why it's important to keep diaries up-to-date. "... the care you and your staff take with my diary, and your consistently high quality service. These are my reasons for staying with Morgensterns since your books opened" Christopher Gunia (Morgensterns first client)

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Web Profiles Just email your cv, biog, photos and any sound files you want to have played from your profile and we will do the rest. Web profiles automatically include orchestral bookings from your diary, so this is another reason why it’s important to keep your diaries up-to-date iCal If you want to import your Morgensterns diary into your calendar application, call us and we'll email you a .ics calendar file which you'll need to import into your calendar. Please make sure you import into a new calendar, otherwise you run the risk of overwriting dates in your existing calendar. "It's so reassuring to know that our requests are dealt with immediately and that you keep us informed on progress." David Wilson (Orchestral Manager, London Mozart Players)

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Morgensterns Diary Service operates on a membership basis, with every musician paying a fixed quarterly fee for access to all diary management, fixer support and career development services. Our fees are reasonable, thanks to the efficiencies of our management systems. Direct Debit: £130 plus VAT per quarter Cheque £140 plus VAT per quarter How does your Young Professionals Discount scheme? Musicians joining on our Young Professionals Discount scheme receive a 50% discount on their first year with Morgensterns, if they join with in two years of graduating from Music College or University. "I would not hesitate recommending Morgensterns diary service to other musicians" Mansel Bebb (Philharmonia Orchestra, Orchestral Manager)