Julian Matthias and I: Our first audition together

A few months after I got my new, full-size violin Julian Matthias I auditioned for the Northeast Junior District Orchestra. I didn't know much about this group, but I knew that I wanted to be part of it. I had to audition before I got in, so I received the audition piece and scale requirements and set to work.

The adjudicators would ask to play two scales, one major and one minor with a maximum of three sharps or flats, and the piece was Fritz Kreisler's "Sicilienne and Rigadoun". At the time I had been playing the violin for 7 years and the audition requirements matched my skill level. I felt pretty competent performing in recitals and with orchestras, but auditions...well, in an audition no one would applaud after I finished, or offer words of praise or consolation. Also, this was the first time that I had to audition with a specific piece, one that would be played by hundreds of other violinists across the northeast district. And finally, this audition would be held during the winter, whereas all previous auditions had been held in the early summer or fall. I would have to do a really good job warming up, literally and figuratively. This concern was very slight compared to the others, though.

I couldn't stop shivering the entire bus ride because I was so anxious and cold. The bus was loaded with other students auditioning for the orchestra, band or chorus and featured a mix of seventh- and eighth-graders from the two middle schools in our town. Someone I didn't know chatted amiably with another stranger in the seats diagonally across from where I was sitting, exclaiming how she tried to shower in the morning but her shampoo was frozen inside the bottle. I wanted to warm my hands by putting the under the armpits but didn't want to risk ridicule for impersonating Mary Katherine Gallagher; I already had the glasses and nervous demeanor and instead pulled the arms of my coat up so my hands weren't visible.

The warm-up room for string players was located in the audition host school's cafeteria, and about twelve of us headed that way before wishing good luck to those auditioning for band or chorus. There were already about fifteen string players from other schools who were in various states of warming-up: most were focusing on the challenging runs, others focusing on scales or filling out the adjudication forms that would be used to judge us. We would hand these forms and let the adjudicator rank on a scale of 1(worst)- 10 (best) our technique, artistic interpretation, tone quality, intonation, rhythmic and melodic accuracy.

I tried not to let myself get intimidated by this piece of paper and took Julian Matthias out of his case to start practicing scales. I'd never been able to see the way I was scored and attempted to convince myself that it was a beneficial thing that I finally got to see how I'd be evaluated. A cheat sheet for how to succeed. Sort of.

Periodically an adult would come into the room and ask, "Can I have your attention please, your attention please, can I have six violinists from school 062, six violinists from 062, please, thank you." After waiting in the warm-up room for an hour my school code was finally called, but cellists and violists were requested. By that time I had finished warming up, my nerves and fingers couldn't handle any more playing until the actual audition.

Finally violinists from my school code, 039, were requested, and I followed five violinists from the other middle school to the hallway where we were told to wait in line. The others immediately discussed the audition order, and I ended up going second-to-last, which I didn't mind. I didn't want to go first or last, even though I knew that in the grand scheme of things I was probaby the 58th violinist to audition.


After waiting and trying not to listen to the others' auditions it was my turn to enter the room. It was a history classroom, covered with posters of various maps, historical figures and student projects. The adjudicator was a man, and he sat not at the teacher's desk but one of the student desk-chairs. Wordlessly I handed him my judging form, put my music on the stand and lowered it so it better suited my height.

He asked me for my school code and grade. I was surprised to find that my voice still worked, and I answered his questions. Then he told me to play the D major scale. "Whenever you're ready," he said. Not difficult at all, in fact one of my favorite. I put my fingers in place on Julian Matthias' fingerboard, got my bow into position and thought to myself, "Whenever you're ready." I delayed the moment until it felt completely unavoidable, and played the scale.

It went uneventfully well. That was the easy part. Then the adjudicator stepped up and pointed to where he wanted me to start and stop. The "sicilienne" is slower, more dignified; the "rigadoun" a sprint contest between the left hand fingers and right arm. The sequences repeated themselves frequently; the audition selection chose the trickiest ones. Again I got the "Just start when you're ready" and steeled myself for what I had to do.

I didn't play nearly as well or as fast as the great Itzhak Perlman, but when I was done I knew I played the best I had ever done, that it was the best audition that I had ever given. On the last pizzicato I let the note resonate a little dramatically, ending with my left hand vibrato still in action. Even though it was an audition and not a solo recital performance I stood still for a few beats before pulling Julian Matthias off my shoulder and rearranging my bow. I could feel the blood come back to my face and fingers, and felt cautiously proud. The adjudicator thanked me and asked me to tell the next person to wait 20 seconds before entering.

* * * * *

I received a score of 62 out of 67 and was put in the first violin, second stand, second chair. The next two years I auditioned for and got into the northeast jr. district orchestra, and the three years after that performed in the senior orchestra. I never scored higher than that, and never got a better orchestra seating. I would count it as one of the top two best audition experiences I've ever head.