| I know some students find it valuable to play the audition material they are preparing for teachers. Just to play devil's advocate, here's another perspective on that strategy!
S had several lessons spring of his junior year and fall of his senior. He brought in Bach, a concerto movement and Paganini - none of which were being considered as audition material. Two professors gave him different interpretations of the Bach which differed still from that of his private teacher's (a prof at a major university). The third teacher had recorded the Bach that S wanted to play for him - so S gave him his own interpretation. Had that Bach been audition material and having been told what different profs were expecting, S would have felt that he needed to present their versions - at least 3 different interpretations at three different schools. He was also given different interpretive and even bowing suggestions for the concerto which also could have resulted in ever-changing presentations in an attempt to give each party what they wanted. Paganini always seemed to pass without much change!
For the lesson he had in fall of senior year, instead of a concerto, he used the Chausson Poeme, not an audition piece, but a work he was learning and had not yet performed with piano. He explained that he was currently working on the piece, it was not yet "master class" level, but he would like to have a "working lesson". This was fine with the professor and S felt he really had a sense of what it would be like to work with the instructor weekly.
S offered to pay all the faculty members and all accepted payment or donation to their institutions. (S didn't have a checking account at that time, I gave him a signed blank check and he filled in the amounts.)
Try to relax at the lessons and don't think of it as a preliminary audition. It's a good time to try to get a sense of the teacher and allow them to see you as a player and an individual. |