In February, we wrote a story about nepotism and the perceived unfairness of auditions in the Cleveland Orchestra [“Sour Notes,” February, 14], which drew 427 responses from musicians and fans around the world.
At the time, members of the orchestra complained that concert master William Preucil was abusing his power. They claimed that Preucil used his position to win prestigious posts for family members. Since Preucil’s 1995 arrival, his sister, brother-in-law, and daughter had all secured coveted spots in the orchestra. All won the positions after auditions that Preucil helped judge.
At the time, the Cleveland Orchestra was one of the few that didn’t use screens to prevent judges from knowing who was auditioning. It was also one of the few orchestras that didn’t forbid somone from judging a family member’s tryout. Executive director Gary Hanson vehemently defended the practice, telling Scene that “It’s always been that way. The quality of our orchestra is the best argument for the success of our audition process.”
But seven months later, it appears Hanson has had a change of heart.
For the first time in its 85 year history, the Cleveland Orchestra will be changing its auditioning procedures. Now, screens will be mandatory at all auditions. And in an indirect blow Preucil, relatives will no longer be able to judge a family member.
The orchestra got to see just how well these new rules worked last month when Preucil’s daughter Lexi auditioned for a prime spot in the violin section. Without her uncle, aunt, or father judging, Lexi didn’t make it past the first round. – Rebecca Meiser
This article appears in Oct 3-9, 2007.
The original article quotes only two specific musicians by name, one of whom is no longer a member of the orchestra. These two musicians are a an extremely vocal minority in their opinion of how things are in The Cleveland Orchestra. The quote of Elisha Nelson is vague and is obviously taken out of context. The rest of the quotes cannot really be considered as they are from unnamed sources, if even more than one person.
I’m a strong believer that screens will never be able to give you an entire picture of a musician. Most musicians I know share the same sentiment. European classical musicians find the practice of using screens very curious. An orchestra, like any musical ensemble, requires its members to make intimate, psychological connections with each other. What rock band would audition its members this way? What string quartet auditions its members with screens? It doesn’t make any sense. Just because you are a trained musician, doesn’t mean you’re entitled to a job. It is this mentality, brought on by the American Federation of Musicians, that has been the bane of symphony orchestras for the past 30+ years.
The Cleveland Orchestra is currently using screens in the preliminary audition round and removes them for all subsequent rounds. This change was implemented by a committee comprised mostly of musicians, not by Gary Hanson alone. Recusal of committee members was also a policy added by the committee. Immediate family members are now recused from the entire prelimiary round, and from the subsequent rounds only when the musician in question is auditioning. This change policy was not met by disapproval from anyone, including the Preucils.
With regards to Lexi Preucil, William Preucil’s daughter… she has been a regular substitute with the orchestra and never held an actual position. she recently auditioned for the position of Associate Concertmaster and advanced from the screened preliminary round. The preliminary round, and all subsequent rounds up until the final round, are done by anonymous voting. William Preucil and Stephen Rose were recused from the preliminary round. This means that she was deemed acceptable to play in the semi-final round for the 3rd highest chair in the orchestra by orchestra members and Franz Welser-Most, who often chooses to be part of the committee from the preliminary round.
What the article does not speak about is how substitute musicians are chosen almost all professional orchestras. Recommendations are made by the principals of each section. You will see students, colleagues, and family of the orchestra members hired as substitutes, as there are no auditions for these services. On tours, it is quite common to give preference to qualified family members for substitute spots.
The article also insinuates that the members of the Preucil family in the orchestra are not qualified to be there. After this recent audition, it is obviously a completely incorrect assumption… but I don’t think the level of playing of the current members of The Cleveland orchestra is ever in question, especially of all the principal players.
Lastly, the article also does not comment on the fact that the final decision falls on the music director, Maestro Welser-Most. It is he, and no one else, that decides who will play in the orchestra. And although the Maestro always asks for the opinions of everyone on the audition committee, I have witnessed him make a decision that did not agree with Mr. Preucil. There is absolutely no reason to assume that the Maestro is a push-over.
In conclusion, I hope that Rebecca Meiser realizes the incredibly negative impact that her article made in the classical music community. Her article has been deemed by many as tabloid trash based on the lack of knowledge and concrete sources behind the opinions expressed; however, because of the power of the internet, the article reached a far greater audience outside of Cleveland. Ms. Meiser left a gross impression of an institution that has an outstanding reputation of artistic excellence. It is simply mediocre journalism and has no merit.