JAVS Fall 2003

like Don Q- since he played principal in Boston, I knew he was familiar with the solos). I actually took a lesson with Steve Ansell (principal here in Boston now) with the hope of obtaining some insight on the "Boston" way of playing - but it turns out that wasn't an important factor. He was able to offer some practical suggestions, but molding one's playing to the ideas of a specific symphony didn't seem to matter. The most beneficial help I received came from Roberto Diaz (current principal in Philadelphia). I think I played every excerpt for him at least once, and he always reminded me about the music. He fixed a few technical problems, but focused on the musical impact of my per formance (if it made sense). He was an invaluable resource, and I was lucky to have had his help." played the preliminary round and was advanced to the semis, which required her to return to Boston one month later for the day on which she ended up being hired. She summarized her performance and feelings on that day in this way: "I thought for the most patt that I played well. I had a few bob bles, but I had to move past them quickly and stay focused on the next excerpt. The nerves were tough - like nothing I had ever experienced before, or could have imagined. To have to play three times in one day was a bit over whelming. After getting psyched up to play the semi round, and then being nervous about advanc Having had her resume and tape accepted by the BSO, Basrak

which she had subbed (an audition which took place at the same time as the one in Boston) but Roberto convinced her that the Boston job might be a better career move for her. As Principal Violist of the Philadelphia Orchestra he had insight into the reality that many solo and chamber music opportu nities come the way of the titled orchestra violists. It is certainly clear that Basrak took the prepara tion for this audition seriously, spending a couple of months get ting ready. Her mindset was pur poseful: "I prepared as ifwinning the job was the only acceptable outcome and fortunately it turned out that way." Basrak elucidates: "I guess my approach wasn't any different than any other competi tion, audition, or project I had taken on in the past. [...] I had to understand what I wanted my end result to be. I knew I'd be playing for only measures at a time and that I was going to be judged quickly on many of my technical abilities (rhythm, intonation, sound, atticulation, etc.). I started by focusing on those things, but never lost sight of the big picture." Not to be underestimated is her assertion that she "had complete confidence in [her] preparation". That confidence can make a huge difference in a candidate's impres sion on the audition panel, as well as on one's own performance. In seeking to know as much as she could about the repertoire she was learning, Basrak sought help from leading orchestra musicians. "I played for Joe de Pasquale at Curtis (mainly the big excerpts

ing, and having the same emotion al roller coaster three times - I have to say by the end of the day I was completely exhausted." Going into an audition, one is likely to have some expectations realized as well as encountering some surprises. This was true for Basrak as well. "The one specific thing I knew was that Seiji [Ozawa] liked to do some one-on one conducting after the screen came down. So, I was prepared for that to happen (and it did)." However, she was called back to play additional excerpts twice as she was leaving, after she thought she was finished. As Basrak managed to do, the les son here is to stay relaxed and not get flustered about any unexpected change or unanticipated situation. Obviously, being a terrific player is an excellent start to winning an orchestra audition. The desire to win a job creates an invaluable focus. Playing for leaders in the field is a great help. Most of all, we can see in Basrak's case that PREPARATION+ POISE= SUCCESS. B Lembi Veskimets is a member ofthe Cleveland Orchestra and President ofthe Ohio Viola Society.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 50