Small_nws_excemption3 Audition Tips

Audition Preparation | Katherine Bormann, Violin
Bt_movie_not_in_use At moments, all of your experiences and influences can be overwhelming but you ultimately need to decide what works for you 00h:01m:29s
Bt_movie_not_in_use Stating the obvious can be calming and helpful 00h:02m:09s
Bt_movie_not_in_use First stage of preparation should feel relaxed. Choosing tempi, bowings, fingerings, breaths, colors 00h:02m:41s
Bt_movie_not_in_use Ask "why is this excerpt on the list?" 00h:03m:20s
Bt_movie_not_in_use Avoid listening to recordings at the beginning of preparation 00h:04m:02s
Bt_movie_not_in_use Second stage: refining, broadening concepts 00h:04m:16s
Bt_movie_not_in_use Third stage: drilling and performing to get consistency 00h:05m:09s
Bt_movie_not_in_use Rhythm is the first thing that can cut players from auditions 00h:06m:20s
Bt_movie_not_in_use Don Greene's centering excercise, finding tempo and character 00h:06m:50s
Bt_movie_not_in_use Practice starting and ending excerpts in unorthodox places 00h:07m:58s
Bt_movie_not_in_use Have a "laundry list" of excerpts you practice every day, and rotate others in and out 00h:08m:26s
Bt_movie_not_in_use Practice strong beginnings to excerpts 00h:09m:04s
Bt_movie_not_in_use Don't be afraid to "reset" between excerpts. Emphasize the difference between composers 00h:09m:30s
Bt_movie_not_in_use Zoya Leybin's advice to listen to the hall you're playing in and make adjustments 00h:12m:20s
Bt_movie_not_in_use Your position in the order of auditioners should not matter to you 00h:13m:53s
Bt_movie_not_in_use Don't stop playing until committee cuts you off 00h:15m:10s
Bt_movie_not_in_use Choosing order when allowed: play to your strengths 00h:15m:30s
Bt_movie_not_in_use Nerves during audition: if you focus on the music, rather than yourself or others, your nerves will dissipate 00h:17m:00s
Bt_movie_not_in_use Code words 00h:18m:12s
Bt_movie_not_in_use Week before audition eat and sleep well and a lot. Allow time for good warmups 00h:20m:13s
Bt_movie_not_in_use Bring a good book or other distraction to audition since you don't know how long the day will last 00h:21m:11s
Bt_movie_not_in_use Organize your music! 00h:23m:35s
Bt_movie_not_in_use Practice in the shoes you will play in, and dress for success 00h:23m:54s
Bt_movie_not_in_use If your attention starts to waver during audition, focus on the rhythm/pulse 00h:24m:25s
Bt_movie_not_in_use Ask for comments 00h:25m:11s

NWS alumna Katherine Bormann, now a violinist in the Cleveland Orchestra, offers some tips about auditioning and what it feels like working on the other side of the audition table.


Recorded Date: 26-03-2015


Katherine Bormann

Katherine Bormann joined the first violin section of The Cleveland Orchestra in March 2011. Prior to her appointment, she was a member of the New World Symphony where she performed as soloist and concertmaster. Ms. Bormann is a native of Bismarck, North Dakota, and she holds a Bachelor of Music from Rice University and a Master of Music from The Juilliard School. Her principal teachers were Kathleen Winkler, Joel Smirnoff and Ronald Copes. Ms. Bormann has participated in the Aspen Music Festival, Beijing International Music Festival and Academy, Norfolk Chamber Music Festival and the Tanglewood Music Festival, where she was awarded the Jules C. Reiner Violin Prize. She has appeared on the "Wednesdays at One" concert series at Alice Tully Hall and performed in the American premiere of Augusta Read Thomas’s The Soul is Light, for oboe, violin, and harp. For two summers, Ms. Bormann was a member of Tanglewood’s New Fromm Players, a contemporary music chamber ensemble.