Maestro Lipsky established a solid footing for my concerto movement of choice, and offered often ingenious fingering options for the list of orchestral excerpts required by the highest professional orchestral standard. For this purpose, I’d commuted to the nearby Chautauqua Institution to obtain multiple private sessions with cellist and Ann Arbor Symphony conductor, Maestro Arie Lipsky, on staff every summer to conduct the Festival Strings and instruct the population of cello students. The summer of that same year found me training intensely for what, I’d hoped, would finally be the job security which I had so long coveted. Having spent nearly 27 years as a regular, and even first call, sub, I’d played my third and final audition for a seat in the cello section of the Erie Philharmonic in early September of 2012. Happening upon it only three years later, I found its contents startling and, suddenly, very relevant. However, the August 2009 issue presented a remarkably illuminating piece on the orchestral audition process, itself.
In these issues, usually with an up and coming musician featured on each front cover, articles meaningful to the professional population are included, along with numerous ads for products and services and, possibly most importantly, in summer a complete listing of vacated symphonic and military band positions open for audition in the coming fall. The magazine: The INTERNATIONAL MUSICIAN, a periodical published by and for the members of the American Federation of Musicians, which is the Union of performing professionals in both United States and Canada.
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