Playing the Oboe in Germany
Germany. Land of many, many orchestras. Indeed there was once a time when every even half decent sized town had it's own orchestra. Four to 6 oboists in every section, plenty of time off and salary structures to reflect our years of training.
Sadly, it is no longer the case, with orchestras folding and merging, and in those that survive, jobs being cut. However, the situation for musicians looking for orchestral positions is still much better than in England, with on average at least one or more new jobs appearing every month in 'Das Orchester', the German orchestral magazine. Usually there are four, but sometimes 3 players in the oboe section, more than four only in the larger Rundfunk (Radio symphony), and other orchestras.
Hochschule or Probespiel?
So, what's the best way to get a job in Germany? There are two methods. Firstly, to study at a Musikhochschule (music college) in Germany, for 2 - 3 years, after completing an undergraduate course of study in the UK. Amongst the more popular destinations for British oboists are Cologne, Munich, Berlin, Freiburg (Holliger teaches there) and Karlsruhe. Higher education in Germany used to be free, but now you will have to pay approximately €600 per semester. During your study time you can apply for Praktikant/in positions. These are basically an apprenticeship with a small salary, usually in the region of €600 - 800 per month and a limited work load ( Dienst ). Most of the larger orchestras offer Praktikant/in positions in all instruments, usually with an upper age limit of 26-28 years. Some orchestras also refer to these positions as Orchester Akademie .
As freelancing does not exist in Germany to the same extent as in England, when an orchestra has a position vacant, or a member is off long term sick, or on maternity or parental leave, the orchestra can also audition for a short-term contract (you will see Zeitvertra g or Befristet on the advert). They may also advertise if they require an extra-player ( Aushilfe ). The audition procedure is the same as for permanent positions, and you are salaried in the same way as permanent members.
The other way, the road I took, is to simply go to Germany and do auditions. I did take some lessons privately in Cologne, which was, I found, essential. Stylistically you need to know how to play the Mozart concerto for auditions in Germany, and the most common orchestral excerpts asked, which are not necessarily the same as those asked for in England. Buy Orchester Probespiel published by Edition Peters. The oboe book as silver. It is used for 99% of auditions, and you will rarely be asked to prepare something that is not in it. Certainly, don't expect to be sent copies of required excerpts. That is an indulgence we enjoy only in England!
I studied with Bernd Holz of the WDR Symphony orchestra in Cologne, and I can't recommend him highly enough. His method is tough and he doesn't mince his words. But if you are willing to learn and feel his method is right for you, you really can't go wrong. However, Bernd belongs to that tiny minority of Germans who don't speak English!
Probespiel (audition) system in Germany
The German audition procedure is completely different from that in England, and it takes a bit of getting used to. It is run as a competition, and can last up to 4 or 5 hours. You must apply in German, including in addition to a basic letter of application, your CV with photo, copies of diplomas and degrees, and references if you have them. You might then be invited to participate in a Probespiel (literally, test-play).
You must let the orchestra know by post, email or phone if you are coming to the audition. If you turn up without having registered, you might not be allowed to play.
You arrive at the audition venue, usually the orchestra's rehearsal studio or concert hall, along with all the rest of the candidates. Naturally it varies from orchestra to orchestra, but often you will find you are all in the same warm-up room. 20 or more oboists all warming up and playing Mozart very loudly can be a very unnerving situation! At the start of the audition, you will be asked to draw lots. This determines the order in which you will play. The first round (if it's an oboe job and not an English horn job you are going for,) will usually be Mozart concerto, first and second movements, with or without cadenza, but this will be specified. I have also been asked to play Silken Ladder in the first round.
Usually, the first round is behind a curtain and the panel have no idea who you are. If you are lucky you may get an opportunity to run through with the pianist before the audition, but don't bank on it! If you do, don't bank on it helping, the Pianist can often be a hindrance rather than a help! If you really want to be secure, take your own with you. Depending on how many candidates there are, and which number you play, you will have a long time of sitting and waiting either before or after you play, before the results of the first round are announced. The results will be announced by; a) the numbers of the candidates to go forward, (so at least know the numbers in German, even if you can't speak anything else!) b) the names of those who will play in the second round. If you don't get through, you are free to leave. You may have an opportunity to get feedback from the Oboe group, but this is not always possible. There is then just a few minutes to prepare (especially if you find you are now the first to play) for the second round. You will be informed of the excerpts you are to play. If you are auditioning for an English horn job that also requires oboe, and have played English horn in the first round, Mozart may come next. By the way, the most often asked for solo English horn concertos are the Donizetti and Pasculli, but you may also be asked to play the solo from "Tristan and Isolde", "Ravel Piano concerto" or "The Swan of Tuenala" instead.
There might be only one round, after which everybody is sent away. There might be two rounds, or three or even four. The later rounds will be orchestral excerpts, and unless there is a candidate known to the orchestra, they will normally not be screened.
The audition system can be quite nerve-racking, and stressful, and tiring, but at least you know by the end of the day if you have the job or not! I find pros and cons to both this and the English system, which is certainly much more friendly, but which takes much longer.
Orchestral Classification
Orchestras are classified in Germany. Your salary is based on what class the orchestra is. At the top are the Radio Symphony Orchestras, and Orchestras such as the Berlin Philharmonic. Then come classifications from A - D, and there may also be Footnotes, which also affects the tariff. The class is usually displayed on the advert for a job, look out for TVK A etc. Some vacancies can be found on the musical chairs website, but for a full listing you need to subscribe to " Das Orchester ".
My first job in Germany was a Zeitvertrag with the Suedwestdeutsche Philharmonie in Konstanz. It was perfect as a first job. As it was a time-limited contract, (I was playing for someone off on paternity leave for a year), I didn't feel under pressure from being on a trial year, and used the year to improve my German, and get used to living in Germany. The orchestra couldn't have been nicer, and bent over backwards to make me feel welcome. I felt immensely valued as a member of the oboe group. It is your right to take time off to go to auditions, and of course if you are in a timed contract, you are encouraged to do so. As a member of a German orchestra you are much more likely to receive invitations to auditions than someone who isn't, although if your CV of extra work in the UK looks good, you shouldn't have a problem. If you study in Germany, as long as you are under 30 you should also not have a problem.
I now have a permanent position in the Anhaltische Philharmonie in Dessau. Like many provincial orchestras in Germany, they do everything from Symphony concerts (my first included Stravinsky's Rite of Spring), to Opera, Ballet, musical, and chamber music. Be prepared for anything, but also for lots and lots of rehearsal time! It is amazing that a town of roughly 80,000 inhabitants, and close to other musical centres such as Berlin, Leipzig, Magdeburg and Halle, has such a large and flourishing theatre and orchestra. Generally you can have a very good standard of life on a musician's salary in Germany, and I find Germany a great place to live, even if the bureaucracy is a little bewildering at times! You will also find adverts for jobs in other countries in " Das Orchester."
Essential German for auditions
Bewerbung = application
Teilnamen = take part
Tätigkeitszulage = extra payPraktikant/in = apprentice
Pflichtstuck = compulsory pieceBefristet = limited
Halbestelle = half positionMit verpflichtung zur / zum = with responsibility to
Zeitvertrag = timed contractHinter Vorhang = screened (behind a curtain)
NB/ Germans are very keen on pointing out the difference between men and women, so you will always see " /in " after a position, indicating the feminine job title. Ie. Oboist, Englischhornist (male), Oboistin, Englischhornistin (female).Viel Glück!
This article was first published in the British Double Reed Society News No. 74 (Spring 2006).
