From time to time the re-audition virus breaks out in the professional orchestra world. The latest cases were those at the Symphony Orchestra of Brazil, the Malaysian Philharmonic Orchestra and the Korean Broadcasting System Symphony Orchestra in 2012.
But there were earlier examples: Back in the early 1970s the Rotterdam Philharmonic management and its chief conductor decided to improve the orchestra’s quality through re-auditions. When in the 1980s three Dutch orchestras merged in the Netherlands Philharmonic, re-auditions also took place.
In Germany, shortly after the peaceful reunification in the early 1990s, some conductors in the new federal states started to try selecting a couple of musicians by re-auditions. But these attempts failed due to legal restrictions: In German law and in our national or single collective bargaining agreements an audition may only take place before the musician is employed for the first time, before he or she enters the orchestra. The issue of a re-audition is not regulated in any collective bargaining agreement for orchestras in Germany. Therefore no musician could be forced to take part in a re-audition. And even if he would participate in a re-audition process, there would be no negative consequences. A poor re-audition performance could never be a reason for dismissal.
If you analyze the re-audition cases of the past you will always find the argument from the management or the conductor to improve the orchestra’s quality. This means in concrete: at least dismissals or pink slips for musicians who don’t meet artistic standards, which are only in the brain of the orchestra manager or conductor. And this means too: despotism and unfair methods to kick musicians out of their jobs.
On the other hand: which are the most successful orchestras in the world? Everybody could name ten or more famous national and international widely recognized orchestras. And one can bet: none of these orchestras do have a re-audition system.
The truth is: every rehearsal, every concert, every recording session with the orchestra is a “re-audition” itself for every musician who has to perform on top-level. However, many musicians say that you don’t perform for the audience, but you perform for the orchestra colleagues. There is no stronger artistic control and social pressure as in the orchestra sections themselves.
To sum up: whenever the management or the conductor of a professional symphony orchestra tries to promote the re-audition issue, this may be an evidence for the inadequate leadership skills of these people and not an evidence for a poor artistic performance of musicians. Re-audition remains to be a wrong tool.