9 things cellists need to consider when taking an orchestral audition

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Can you think of another profession that has a three-year-long job interview? From the point of application, through all the audition rounds and the trial to the offer of a permanent contract, the timescale can be anything from six months to three years for a musician joining a professional orchestra. The process requires skill, confidence, hard work and resilience.

As the years go by after leaving a conservatoire, it can be difficult to access help for audition preparation. Many musicians feel isolated, practising and preparing alone while earning a living at the same time. I have been wanting to do something to help cellists with the audition process and when Selma Gokcen invited me to launch the Manchester Hub for The London Cello Society, this seemed the perfect opportunity to offer a full day event – A Professional Development Day for Cellists: Tackling Orchestral Auditions.

Here are nine elements for cellists to consider when applying for an orchestral audition:

The CV and covering letter

Your CV and covering letter are the first things the jury will see, before you’ve even played a note. So it’s important to make a good first impression!

Tim Williams, BBC Philharmonic and Founder of Psappha Ensemble will present a session on How to write a good CV and covering letter. Tim will help you with this vital first impression by highlighting the Do’s and Don’ts and offering practical advice on layout and content.

You can even opt for a private advice session in Tim’s CV Clinic, just email to book a slot.

The home-made recording

It can be difficult to make a good quality recording if you do not have access to equipment or a spacious room. There will be a Top Tips information sheet for delegates, written by experts in the field explaining how to make the most of your own resources and facilities. There will be advice on the best way to use your mobile phone in a small room, ideas for low-cost equipment to put on your Christmas list and recommendations for the best type of venue to hijack or the optimal recording gear to borrow.

The auditions, usually anonymous and performed behind a screen

Performing behind a screen can be liberating for some but inhibiting for others. If you need a dress rehearsal, take up the chance of a mock audition with me, Jennifer Langridge. This will be anonymous and screened. Written feedback will be provided, but there is also a chance to record yourself - see how you sounded. You are your own best critic; you might discover something you can easily fix, or you might be pleasantly surprised as you listen back.

The Concerto

We are thrilled to present a masterclass with Hannah Roberts, Jacqueline du Pré Professor of Cello, RAM & Professor of Cello, RNCM and Simon Parkin, pianist, composer and arranger. Hannah and Simon are in demand, performing and giving masterclasses around the world, and we are lucky enough to have them here in Manchester. Hannah will look in detail at the three most common concerti set for orchestral auditions Haydn D, Schumann and Dvorak. A chance to be a fly on the wall at someone else’s lesson! We hope this will inspire and ignite a fresh look at these works which can become tired over time and are all too often associated with audition fever.

The Excerpts

We all know that that the excerpts are just as important as the concerto! Nicholas Trygstad will be demonstrating and talking to us about the top five excerpts, most often set for auditions. Nick, who was Principal Cello of the Hallé, is now the Head of Strings at Royal Birmingham Conservatoire and this a unique opportunity to hear him revealing trade secrets on Beethoven Symphony no.5, Brahms Symphony no.2, Mendelssohn A Midsummer Night’s Dream, Verdi Requiem and Strauss Ein Heldenleben.

The Sightreading

Many cellists dread sightreading in an audition. Chris Hoyle, Head of Strings at the RNCM comes to the rescue with strategies on how to prepare for this important discipline so that you are ready when the moment comes.

The Nerves

Understanding adrenaline and developing coping strategies is key to performing under pressure. Participants can take part in a mindful meditation with Paranayaka from The Manchester Buddhist Centre. Paranayaka will help us to become more mindful through breathing, these skills can help enormously when we experience adrenaline spikes during an audition.

The chance to meet others

We hope the RNCM will be filled with cellists on 24 November. Making connections with others experiencing the same difficulties can be greatly beneficial, a bit of mutual support is extremely healthy and can help us to feel more confident. Building relationships with colleagues means we don’t need to be be lone wolves fighting our battles alone.

Healthy Perspective

It is important to remember that a job in an orchestra is only one way to make a career in music. Many people choose a freelance career, playing with a variety of different ensembles and orchestras, mixed with a healthy dollop of teaching and perhaps something completely different on the side. If the auditions are causing frustrations, try to keep a sense of perspective; you are your own best boss.

If you are feeling isolated preparing for your next audition, join us at the Royal Northern College of Music, Manchester on Sunday 24 November 2024 as we examine every part of the professional orchestral audition. Watch and listen to the experts in this field sharing their knowledge with you.

Tickets are available for the Professional Development Day for Cellists, 24 November 2024: https://www.londoncellos.org/event/a-professional-development-day-for-cellists-tackling-orchestral-auditions