<p>My daughter has several friends who were given a 3 PM violin audition today. Does that mean that the auditions are not specific to time, i.e., a lot of kids show up and they divide up the hours? </p>
<p>I ask because one of my other kids just received an audition tomorrow afternoon in Philadelphia and I suddenly now have pressure to leave New York asap. My daughter’s Juilliard audition form said 10 AM, but I am worried it will be much later if many kids are called for the same time.</p>
<p>Muimui, thanks for the tip. Yes, this is the Phillip Starck hotel. I tried the Empire first but for some reason I got very high rates from them, not $179 as Marjecat received. We did stay at the Empire once in the past and liked it a lot. Phllip’s Club sounds great, though. Good luck to your daughter in her auditions!!</p>
<p>Drove to NY yesterday because daughter had an 11 AM lesson with her Pre-College teacher. While she was upstairs I saw the waiting room packed with nervous-looking parents. I went to the 11:30 info session, which got off to a late start because they could not get the DVD to play. Eight staff members and work-study students worked on the machine, and eventually it was concluded that the problem was mechanical, not human, and so they proceeded without the movie. Although I was interested to see the film, I was more interested to hear the speakers. I really liked the combination of friendliness and enthusiasm demonstrated by the Dean of Admissions and others who spoke. I did not learn much that I had not already known except that Juilliard does have a fitness center (we had wondered about that but somehow it did not seem like a top priority question; however, the housing director mentioned it in passing.) I really like their emphasis on preparing musicians to work in the business. To be eligible for 2nd year on-campus housing, and to be eligible for the booking service that they provide for chamber groups, students are required to attend seminars, workshops and lectures focusing on various aspects of the business end of the art. I appreciate this strategy, as college students often end up triaging their energy and eliminating activities that while obviously useful and desirable, don’t result in a grade. So by making these workshops optional, and yet providing an incentive, they allow students to rationalize the need to make time for them. </p>
<p>My daughter’s audition was at 10 AM the next morning. Although several kids were called for that hour, she went on first. I think she was the first to play of the whole day. It was in a very large hall and the panel, also large, was far away. There were about 10 faculty on the panel, although she was too busy playing to get a precise count. This was her shortest audition so far: she played for only 7 minutes. The “usual” chunk of the 1st movement of her concerto and a few pages of her Bach Fugue. </p>
<p>She felt she played well, but not as well as she had at her several previous auditions. Anyway, now it’s over and we have only one audition left to do.</p>
<p>This isn’t really a “I went to xxxx school and the practice rooms were nice and they had snacks” post exactly. It’s actually sort of long-winded, but I’m reaaaaaaally disappointed and had to get this off my chest to someone other than people in real life who will give me the good old “I"m sure you sounded great!” response and make me feel stupid for bringing it up. </p>
<p>Maybe my experience was unique(ly negative), but maybe this will prevent someone, somewhere, from having a bad (and potentially future-altering!) experience like I did.</p>
<p>I had my last audition today—for my top choice school.
This particular school was the only one that required an accompanist—either the one they suggested, or your own. I figured I couldn’t go wrong with their suggested one (who turned out to be a college student from a nearby school), so I contacted her ahead of time and we met up a week ahead of time to play through my repertoire.
She seemed really nice, but there was just this awkward kind of “off” feeling… for one of my pieces in particular, it felt like she was improvising chords under what I was playing, which threw me off (I’ve been working on this piece for half a year and know what the accompaniment is supposed to sound like…) But I guess I figured she’d brush it up in time for the actual audition, so I ignored my “THIS IS NOT GOING TO END WELL!” premonitions and tried not to worry about it.
While we were practicing, she suggested I play the piece slower. I said I’d try not to rush it, but it felt really weird to try to change something so major a week before my most important audition.
I assumed that she knew what she was talking about, and was trying to help me:</p>
<p>I came to realize her only reason for wanting the piece slower was that she could barely play it…
Unfortunately, this realization came too late—“too late” as in “in the audition room”, after she missed a few measures, which caused me to horribly flub my entrance, which made me even more nervous, which made me screw up the rest of that passage even though it had been fine at all of my other auditions, etc.
I was already really nervous (that totally unhelpful “my life depends on this! I must nail this audition!”) feeling, so that probably wasn’t helping the situation at all. I also felt ODDLY as though I could barely hear myself over the piano. I figured I was imagining it until (after she left the room) I heard someone on the panel mutter something to the effect of, “so loud!” (Of course, there’s always the possibility that they were talking about me, in which case I’m very easily out of the running hahaha). The whole time I was just trying to SOMEHOW project my sound and wondering if they could hear anything I was playing at all. </p>
<p>I can’t really describe how disappointed I feel; this has been my number one choice school for years. I’d taken trial lessons with a member of the faculty there and her feedback was really positive and encouraging, so of course I can’t stop wondering how things could have gone differently if I’d just found a different accompanist, or even if this one had even flat-out refused to accompany me on that piece. I wish I’d kind of been rock steady through it and not let it phase me, but obviously that didn’t happen.
And the moral of the story: if you (or your child… or both!) have a bad feeling about your accompaniment… and you have a say in the matter… don’t ignore it and hope it’ll somehow work out in time for the audition!
Wow I feel terrible.</p>
<p>spstr - I’m so sorry you had this experience. I don’t understand why they had a less competent pianist there. Surely a good music school should have capable collaborative pianists of it’s own. Very odd and disappointing.</p>
<p>Did you play other pieces that went well? I want to encourage you that audition panels hear more than just mistakes. It is entirely possible that they understood the issue with the pianist, and were able to judge you apart from that. </p>
<p>The other thing I want to say is that these things have a way of working out the way they were meant to be. You did the best you could under the circumstances, and it’s out of your hands now. Reliving it over and over in your mind won’t change anything.</p>
<p>Spstr-</p>
<p>The only words of encouragement I can offer you is that there is a chance, maybe even a good chance, that the panel recognized the problem was with the accompanyist. People on those panels generally have done a lot of auditions, not to mention they themselves have had less then stellar accompanyists I am sure, and I suspect/would hope they would factor that in.Also keep in mind that if you had a trial lesson with a member of the faculty, that person knows how you performed, and they potentially could advocate for you (I can’t speak for this teacher, but I know for a fact that in audition situations teachers will do this, if there is question about a candidates ability after an audition, and they know the candidate, they will speak up for them…). </p>
<p>My best wishes that things work out for the best, and whatever you do, go knock them dead!</p>
<p>echo binx</p>
<p>Your panel evaluators are sophisticated enough to know that you had a weak accompanist. It happens more often that it should. I’ve seen it in competitions as well as auditions. Bottom line, they’re listening to you, not anyone else, and they know from personal experience as well as as adjudicators how disconcerting it is to play under these circumstances.</p>
<p>Good luck!</p>
<p>Spstr-</p>
<p>My S had a similar experience in which an accompanist did not play the correct tempo and it caused some issues for him. You sound like he did after that audition. If it helps, I heard his audition from outside the room, and it was pretty good; so you may be feeling as though it was worse than it actually was. When you are in the hot seat, everything is always magnified. I think you can take some encouragement from what the faculty member said. He obviously understood that there was a problem with the accompanist. That may be taken into account by the faculty. The fact that you have a prior relationship with a faculty member may help you, too, since he/she knows your ability. Finally, echoing what binx said, as hard as it is for all of us to accept when we want something so much, even if you do not get accepted to this school, things often turn out for the best. Whatever way it goes, you obviously have a lot of talent if you got this audition and you will do well wherever you go. Best of luck and keeping our fingers crossed for you!</p>
<p>Spstr-</p>
<p>My S had an experience that was similar in which an accompanist did not play the correct tempo and it caused some issues for him. You sound like my son did when he came out of his audition. I heard the audition from outside the room and I thought it was pretty good. You may be feeling as though it is worse than it actually was. When you are in the hot seat, everything is always magnified. I think you can take some encouragement from what the faculty member said. He obviously understood that there was a problem with the accompanist. That may be taken into account by the faculty. The fact that you have a prior relationship with a faculty member may help you, too, since he/she knows your ability. Finally, echoing what binx said, as hard as it is for all of us to accept when we want something so much, even if you do not get accepted to this school, things often turn out for the best. Whatever way it goes, you obviously have a lot of talent if you got this audition and you will do well wherever you go.</p>
<p>Dear Spstr,
What an awful experience for you. As others have said, the panel should be able to recognize that you were compromised by your accompanist, and they should also be able to see that you kept your composure under very trying circumstances. Your unaccompanied parts of the audition will have shown off your actual playing. Best of luck to you-- I hope that this negative-feeling experience will yield positive results!</p>
<p>Spstr, I’m so sorry that happened to you! Keep up the faith: I’m sure the faculty realized what happened, and saw that you did you best to compose yourself. I majorly flubbed a note at an audition, and thought I was out of the running, but I received a call unoficially accepting me! Apparently, recovering from something like that shows the panel that you’re level-headed even in tough situations. My teacher always says that what happens is almost always the right thing for you, so don’t beat yourself up over it!</p>
<p>Curtis Audition: D was told to arrive at 2:30. The reception area was quite crowded, and no one greeted us (other schools had students everywhere providing assistance). Finally located a check- in card table in a far corner and made sure she was on the list. The place was mobbed with auditionees and students. No special arrangements had been made to provide additional seating, so we jealously guarded our half bench. At 2:30, we were informed they were running behind. The Admissions Director gathered up the 2:30 group and had them pick their audition order from a cup. D was dead last. AD told her to report back at 4:45 for warmup. Off for Retail Therapy. Returned at 4:45 and waited another 30 min until D was fetched by a student and sent to the basement for a 30 min warmup. Then Student took D upstairs where she auditioned for the Teacher and a grad student.(D noted the Teacher looked absolutely exhausted, as well he might after hearing auditions since 9 am.) AD informed all auditionees that callbacks would be posted “around 6:30”. More retail therapy. Six out of 20+ for her instrument (one opening) were invited back to do the whole thing again the next day. D was not one of them (sigh). Off to dinner to lick our wounds and contemplate the long strange trip it’s been, auditioning for 9 schools in one month. As I told her, if you can survive this, you can do anything. So the lesson learned from Curtis is that you are pretty much on your own, there are no tours or information sessions, or even refreshments. Fortunately Curtis is beautifully located on Rittenhouse Square and there are a multitude of restaurants, coffee houses and stores to keep you entertained for a good long time.</p>
<p>Marjecat, I hope your retail therapy included a trip to Anthropologie. Your description of the experience is similar to many others I have heard concerning that school. Congrats on completing 9 in a month-- that is quite a feat in itself.</p>
<p>THANKS Margecat. Sorry it was a disappointment. I hope your D has found another school that she is in love with. I appreciate the heads up about the DISorganization. Unfortunately we are flying in so if we don’t make it to DAY 2 there will be extensive retail therapy since our plane doesn’t leave until 4 pm the next day. I hope I can afford it. My D has lots of friends coming to Curtis at the same time so it may turn into OLD HOME WEEK with people she hasn’t seen in awhile.</p>
<p>Have not seen this school represented yet, and though S is not performance major there are a lot of composition majors looking for next year so here goes. General MSM info. for all applicants: You are met at front of building by MSM students who give you registration info. and times of auditions/tests. Lots of practice rooms here as auditions are scheduled during spring break. There are hourly resident hall tours (quite nice with many practice rooms within) and daily information sessions at noon. The information session I have to say, after visiting many schools, was not helpful. Though the day we visited a very nice person filled in for the regular speaker the focus was on Fin. Aid and how applicants are accepted. We wanted more information about the school, the curriculum, even residential life would have been nice ( at least for me the parent, feeling shaky about leaving my 18 yr. old in NYC) though some of that was covered by student tour guide. There was no school tour, but seeing the recital halls would have been impossible at this time as they are constantly in use for auditions. The library on 2nd floor is open and you can even log on to internet.
Now specific for composition audition.
After S passed pre-screening, was told that the specific dates for composition interviews within the week of MSM audition week were March 1st 9AM for theory test ( 3+ hour which thankfully he looked forward to!) and at that time composition assignment would be given. I don’t think the assignment is secret, but not sure, so suffice it to say he had to write a short composition which he would then present at the interview which was not scheduled until the day after - Wed. March 3rd. When I called and asked they said it would have to be hand written, but when we arrived and son asked again they said he could use finale and the other program (sebelius?) and could even print it out on library computer. Lots of practice rooms with pianos to use to compose as well. The interview went well for S, he met with all 7 Composition professors, one of whom is the Dean of MSM and Comp profess. too. They had him play his composition and they played one of his submission on the CD he had sent. They discussed it all which son enjoyed greatly. He came out of interview with positive impression of professors. His audition was originally scheduled for late afternoon. I had called and begged for earlier time and was granted mid day appt. as a student had cancelled. March 2nd was scheduled for Grad students only. It may have been possible to request that for undergrad, not sure, but didn’t know how long it would take son to complete assignment so didn’t push. But really… three nights in NYC… quite the investment in $ and time, and if he had been interviewing elsewhere in NYC it might not have been so bad, but he didn’t. A clean spacious place to stay not to far BTW is Hotel Newton, we had two single beds for about $125 per night w/pvt. BR. Nothing fancy but on Bway two stops from school on #1 subway line.</p>
<p>Glad it went so well! No matter the ultimate result, perhaps try to think of the expenses as towards a Master Class or mini-workshop - after all seven prominent composers listening to & discussing his work - that’s almost priceless!</p>
<p>Ahh thanks for the extremely encouraging posts, everyone! And binx- I did play other pieces, but I felt like I didn’t pull myself together and play them as well as I should have 
</p>
<p>I guess I’ll just have to wait and see to find out! Trying to keep busy this month…</p>
<p>I got to registration at around 8 AM to a free Starbucks-like reception. The dean and other important figures were all meeting with each of us as we lounged around for the morning program. They were all very personable. There was a string quartet, brass quintet, and piano performance by graduate students–very impressive.
Afterwards, I went straight to my 30 minute warm-up a floor down. Nothing amazing. There were halls with plenty of rooms, each with an upright piano, some with grands reserved for piano majors. After warming up for 15 minutes, I packed up, listened to Jacqueline Du Pre on my iPod to relax, then headed to my cello audition.
It was a one-on-one with the cello professor, Carter Enyeart (excellent professor, by the way), in his small, quaint office. I sweat a lot due to the humidity and temperature in the room and the intensity of the Elgar didn’t help either. I wasn’t nervous, though. The sweat rolled down my eyes and it looked like I was crying because Elgar is so passionate haha. I played through half of my Bach piece and half of the Elgar and he stopped me and told me he didn’t need to hear anymore and that I was accepted and I should get an official letter soon. He said I did a great job, gave me a pat on the back, and told me to keep in touch!
I was done by 11. I went back to the reception, grabbed a bagel, coffee, and cereal bar for breakfast/lunch, then went to the orchestra rehearsal. The group is small- about 6 cellos in that section. All of the basses trickled in late one by one haha. The rehearsal turned out to be a composition reading, which was great because I’m a prospective composition major as well. Dr. Chen Yi was there overseeing the rehearsal and it was being recorded. It was a very nice experience and there was a wide variety of voices in each student composer.
I skipped the tours and other events going on (I’m a local to KC), so I was in the same building, not running around, frazzled. The reception, warm-up, and audition were all in the same building. I’m sorry to hear that some schools have different buildings assigned for warm-ups and auditions.
But, that’s my experience! I was out by 3 with a good impression from the school, and although I want to get out and experience the rest of the world, I’m very lucky to have a nice program close to home.</p>
<p>D auditioned on Saturday, this was the last of three scheduled audition days at Long Beach. D signed in by 11 am in the lobby of the recital hall. There she signed up for one of two slots for an hour-long theory test, and received an audition number (not a time), and an assigned practice room. There was an orientation scheduled in the middle of all this, but it conflicted with what would likely be D’s audition time (we were guessing), but I was able to go to it. There were plenty of student volunteers guiding people, and we were brought to a “holding room” where voice applicants were waiting until their time for the theory test and/or the practice room. D went off to the theory test, and later commented that it was by far the hardest one so far. (It’s only for placement, not admission) Then back to the holding room, and shortly thereafter she was brought to a practice room, where she had maybe 20 minutes or so to warm up. While she was there I went to the orientation, where the head of the conservatory was giving info and answering questions. He explained that everyone gets some sort of scholarship, but only up to full tuition, which for in state students is only about 4k. Not sure if they cover out of state tuition, but that was not our concern. D auditioned in the recital hall around 2:00 or so. She sang two songs, and also did some sight reading.</p>
<p>There were actually two different rooms where voice applicants were auditioning at the same time. It wasn’t clear whether they were separated by jazz voice/ classical voice, though the opera director was in D’s audition space. In any case, the numbers given out went past 40 for each audition space, AND there was a whole other session earlier in the day, where kids had had to sign in by 8 am. So, I believe that at least 150 voice applicants auditioned on that day, and this was one of 3 days. These would all be undergraduates, and there were also all the other applicants for the other instruments. Someone told us that they had never had so many people auditioning in previous years. The donation $ for the scholarships came in about two years ago, and the level of musicians has been increasing dramatically ever since. There were a lot of people around, plenty of volunteers, and everyone was really nice. We had plenty of time to talk to current students, and they all seemed very happy there. Some had turned down some pretty high-powered programs for this one, for money reasons, and they were pleased with their decisions. </p>
<p>It would have been nice if they had given out audition times instead of numbers, but it was fine as it was. No tours, but we had visited before. We were left with a very good impression, especially since D had had a lesson with one of the teachers, whom she had liked very much, and who took considerable interest in her. (Teacher was not at the audition). One of the concerns I have is how much will the CA state budget cuts hurt the program over the next few years. We did ask students if they had had any problems getting needed classes, and they all assured us that they had had no problems at all so far. Afterward we went out to Belmont Shores, a very nice area near the beach, had a late lunch and did some shopping in the boutiques. A great day, and now more waiting, for about a week or two for these results.</p>
<p>That is a HUGE number of voice applicants, and on only one day? How big is their program (total number of VP students and avg # of vacancies/year?)?</p>