any word on finalists/outcome?

Kyle Brightwell and Matthew McKay.

wow - 2 Tim Genis students - I guess nobody saw THAT coming

Yes, Two extremely talented, and deserving Tim Genis students! Cheers to Matt and Kyle!

any idea who else (regardless of where he/she may have studied) was in the finals?

Two well deserving musicians regardless of previous teachers. Congrats to Matt and Kyle!! Other finalists were Joe Becker, Michael Roberts, Matt Strauss, George Nixon.

Not to add fuel to this fire, but I have to ask... Are the schools where BSO percussionists teach the best in the country for percussion majors, or is this real nepotism? In addition to the Genis students in the finals you have:

Joe Becker (NEC and BU)

Michael Roberts (NEC)

George Nixon (NEC)

Congrats to Matt Strauss for advancing to the finals without going to BU or NEC!

Sorry for the Google stalking, but I'm actually very interested in this stuff. Do former/current students auto advance in Boston? Do former NEC and BU percussion students win jobs/get into finals at other major orchestra with the same high percentage (in this case 5/6 studied at Boston schools)?

It's a discussion worth having but let's be careful not to take anything away from Kyle or Matt. Matt recently won Oregon and Kyle was runner up in NY. There's a history of success outside of Boston for both. That being said, I think bystander asks some valid questions...

never my intent to insult the winners, who have a track record of success and I'm sure played great.
My observation was, however, certainly in line with the detective work done by bystander (and if you went back to the last 2 auditions there I'd imagine you would find identical results for the finalists in terms of where they went to school).

This message has been edited. Last edited by: ldb,

Studying in Boston is an obvious advantage, but you still have to play with a large amount of command, accuracy, and musicality to advance in ANY major audition. Yes, people may say "Oh, they only won because they studied there," but playing favorites is not only unfair, but it is against AFM Policy. The orchestra could get in huge trouble if the winners were picked based off of anything OTHER than their playing. Just my opinion, maybe someone else can shed some light on this topic. Again...Congrats MATT/KYLE!

Let's be real, orchestra have bylaws created to allow them to hold auditions any way they want. Nobody there is going to get in "huge trouble" with the AFM.

Certainly someone who has been groomed by members of the BSO (and paid attention) is going to play in a desired style and will be adaptable to the wishes of the members.

Take nothing away from the incredible talent, skill and dedication of someone who can actually win the job. Credit them and their teachers for superior preparation in high school, for being admitted to and attending the schools that put them on the road to a job, and for developing their talent to the utmost. Success is where hard work meets opportunity, and life is not fair.

What happened to Lee Vinson? He didn't get tenure?

It's certainly a given that the finalists and winning percussionists are outstanding musicians - nobody is disputing that!

My question is how the finals of this audition ended up with 5 out of 6 players taught by BSO musicians? Given the number of (perhaps equally?) outstanding percussionists that took the audition, it just seems implausible that 83% of the finalist had connections to BSO teachers. Did everyone start from behind the screen? Are the semis screened too?

Hi folks, I have heard Matt and Kyle in auditions over the last year and a half. And about 150 others. I don't care where they went to school, you are talking about two world class players who worked their butts off to win those jobs. The entire audition at BSO was behind a screen. Anyone from a certain town has a stylistic advantage over players not from that town when there are openings in that town's orchestra. That only makes sense. But don't forget that there are more non percussionists than percussionists on those committees and they are listening for artistry above all things. There may be people who can play as well as these two, but no one who can play better. Oh and PS I went to Eastman. The new BSO section will ultimately be mentioned in the same breath as Philly in the 60s and NY in the same time period. That's how good all those guys are now. ND

The BSO now has the reputation that Cleveland has had for years- don't bother applying if you haven't studied with the current members. Also, hiring two players with little orchestral experience is a concern. Isn't that how Lee lost his job? I'd like to know if they had to make a DVD or were invited simply because they are students of Tim Genis.

Hi all,

I sat on both perc audition committees in Oregon and am a violist so I wanted to throw a couple of things out here. I'm new to this site so... Matt and Kyle are both sick players and I'm not at all shocked they would win Boston. They are freaking amazing and both deserve it. I hate when people bring up experience. Unless their resumes say NO orchestral experience then it's irrelevant to me. There are some players that have a ton of orchestral experience on their resumes, you get them in the chair and you realize why. They bounce from job to job or don't get tenure, because they can't play in orchestra. It goes both ways. (BTW, I would rather hire a great player with little experience than to use that against them and come away from an audition with a no hire)
As a Cleveland girl originally who went through the youth orchestra system and then went on to CIM for both degrees I have to say that I hate the CLE only hires CLE, BOS only hires BOS bitterness. First it negates the fact that a lot of these players have won auditions or made finals in auditions for other orchestras. Matt's "little orchestral experience" came from Oregon a 38 week ICSOM orchestra. I would think it would make him qualified enough to work for Boston. Kyle has been a finalist in other auditions so it is not as if this was his first audition and he was just picked from nowhere. Boston made two hires that other orchestras have either made or almost made. If they don't hire them, someone else will (or did). Does it help that they went to NEC? Hell yes, because it helps with the experience argument. (that I hate) They have a BOS history at least and it makes it feel as if you are taking less of a gamble with them. (if experience is a worry) Plus, style wise you don't have to break them in.
As a Cleveland girl and Vernon student I would always hear other violists bitching about CLE only hires Vernon students. I always say this to them, that most of the violists in the TCO were in other orchestras before or were in the finals for other orchestras. It was only a matter of time before they were hired. During my 6 years at CIM I think Vernon had about 16 students over that time.(that I can remember, I'm getting old) 2 of those students no longer play viola, the other 14 have jobs. Don't hate the teacher or the players. I don't know the Boston teacher, but apparently he is doing something right.
My advice to percs would be to not only become amazing at snare and mallets, because so many of you sound amazing on them, but to really focus on cymbals, bass drum, and tambourine. Clarity, tone, and dynamics. Committee make ups can have such a range of instrumentation on them so make sure you are doing mocks for non percussionists. Also, the level of percussion is pretty high, especially in this last audition so make sure to concentrate on details.

Thanks for allowing me to share my thoughts,

Jen Arnold

P.S., Hi Niel

Once again, no one is disputing the talent of the winners; I'm sure their phenomonal. I'm curious about the makeup of the finals (83% BSO students!?). The only questions in my mind are: 1) Is their deliberate nepotism at work for students of BSO players (skip the prelims, skip the semis?) and 2) If Matt and Kyle had a ratamacue-off, which would deliver the death 'cue?

All the finalists played through prelims, semis and then finals. All rounds were behind a screen. Clearly there is a particular sound that the committee was looking for. Of course it helps that Matt and Kyle play with that style. After all, the committee members taught them to play that way. Perhaps they had a stylistic advantage, but they also had to execute it flawlessly...which they did. I have known Matt all my life (he is my younger brother) and I have I known Kyle since he and Matt were in youth orchestra together. Anyone who knows them, knows their work ethic and how well they play (and have always played) know that it was just a matter of time before they both won something big. Boston players or not, they are supremely gifted musicians who have earned their jobs. Much love and congratulations to both of them!

...and I give the ratamacue advantage to Matt (for the single) but if you're talking double/triple ratamacues it might go to Kyle. I'd enjoy that battle, though!

quote:

Originally posted by PERCPAUK:
but playing favorites is not only unfair, but it is against AFM Policy. The orchestra could get in huge trouble if the winners were picked based off of anything OTHER than their playing.

I defy you to name one example of this happening in the history of the AFM. In fact, find one example where the AFM did anything, huge or not.
You won't find so much as a strongly worded-letter, a censure, a wrist-slap, or even an acknowledgement. They don't.

I've said it here a hundred times, I'll say it 101: an orchestra should hire whoever they want. It's their band, so be it. HOWEVER, they should not hold open or semi-open auditions. That's ridiculous. I'm sure these two people are great players, there's no reason to go through an expensive charade and have people pay a small fortune to travel to Boston for a job they ain't a-gonna get.