As with many orchestras, WWS maintains a roster of musicians who are members of our Core Orchestra. Core Orchestra members will always get the first opportunity to play a concert with us, as long as there’s a part for them, and in return, they guarantee that they will be available for at least 65% of the concerts for which they are called (asked to play) in any given season. Substitute musicians are only asked to play after Core Orchestra members have been given the opportunity, or if the number of musicians needed for a particular concert exceeds our Core Orchestra size.

There are 58 available positions in the Core Orchestra, including:

• Flute 1 & 2

• Oboe 1 & 2

• Clarinet 1 & 2

• Bassoon 1 & 2

• Horn 1, 2, 3, & 4

• Trumpet 1 & 2 

• Trombone 1, 2, & 3

• Tuba

• Timpani

• Percussion 1 & 2

• Piano

• Harp

• Concertmaster, Assistant concertmaster, principal second violin, section violin (15)

• Principal viola, section viola (5)

• Principal cello, section cello (5)

• Principal bass, section bass (4)

The number of actual musicians onstage can vary widely from concert to concert, depending on the music performed. For example, in the 2026-2027 season, WWS concerts require from 27 (for Johannes Linckelmann’s chamber orchestra arrangement of Brahms’ German Requiem) to 67 (for Ravel’s arrangement of Mussorgsky’s Pictures at an Exhibition) musicians.

So, how does a musician become a Core Orchestra member?

BACKGROUND

The Walla Walla Symphony has existed for 120 years, which means that we have staffed our orchestra in almost every way imaginable, from begging for volunteers to flying in specialists on certain instruments from other states.

Our current orchestra members have come to us in many different ways through different times in the orchestra’s history. Some of our musicians have auditioned for open positions, some were appointed by a music director and conductor, and some have been playing with us since the early 1970s and deserve some privacy regarding the secrets of that era. We love and appreciate all of them.

Beginning in 2022, as part of larger strategic conversations around sustainability and inclusivity, the WWS began the process of solidifying what it means to be a member of the Walla Walla Symphony. It was at this point that we added the information about the Core Orchestra to our Musician Policies and Procedures, in conjunction with the creation of Musician Job Descriptions. At this point in time, section principals were automatically drafted into the Core Orchestra, as were almost all of our long-term musicians who were willing to be drafted. Transitions are always tricky, and this one was no exception. We got many things right, a few things wrong, and tried our darndest to lead the many conversations that got us through with curiosity and transparency.

Today, Core Orchestra positions are filled via an audition process. All Core Orchestra openings are publicly posted, with an invitation to apply for the open position by submitting a cover letter, a resume, and digital recordings of some number of orchestral excerpts. After the submission deadline has passed, the anonymous audio submissions are reviewed by an audition committee, “membership of which may include, but will not be limited to: [the] Music Director, [the] Concertmaster, [and] One musician from the same family of instruments auditioning.” These committee members are selected based on their proximity to the open position and are asked to disclose all possible conflicts of interest before sitting on the committee.

FIRST ROUND AUDITIONS

During the first round, the committee members do not know who the candidates are and the candidates do not know who the committee members are. We also have each committee member assess the auditions individually, without discussion. This “double-blind” approach encourages each committee member to evaluate the candidate without influence from previous knowledge of the candidate or the opinions of other committee members.

Committee members are asked to rate the audition recordings using a Google Form version of our standardized first-round audition rubric, which is based on the job description for the position. The rubric asks assessors to evaluate candidates in several different domains on a scale of 1 (not recommended) to 4 (strongly recommended).

The data that comes from such an evaluation gives us a very good picture of where a candidate’s audition falls among the applicant pool, so in cases where one candidate strongly outshines the others, or where there are multiple open positions and a clear ranking of candidate ability, we sometimes make offers of probationary Core Orchestra positions after this first round of auditions.

Other times, we end up with more than one excellent candidate for an open position, or we end up with no candidates for an open position.

SECOND ROUND AUDITIONS

When we have multiple excellent candidates for a position, we move into a Round 2 audition, which is a work trial. We offer top candidates a chance to play a concert in the role for which they are auditioning, and, if they accept, we take all the anonymity away. During a work test, the candidates become known to everyone, so the members of the audition committee are also revealed to the candidates. We also transparently communicate the skills that are being evaluated to both the candidates and committee before the second round begins, using a similar rubric system to the first round. This second round audition is both an additional opportunity for us to evaluate candidates and an opportunity for candidates to evaluate the experience of playing with us.

If there is still not enough data to differentiate between candidates and multiple candidates are still interested the position after the completion of a second round audition, committee members are given access to candidates’ resumes, cover letters, and other feedback collected during the process. All hiring recommendations must be made unanimously, so discussion can be lengthy.

PATHWAYS

In the spring of 2025, we ran an audition process and came up empty-handed even though we knew there were several qualified musicians in our region. This led to a year-long discussion of what we are actually evaluating through auditions, at which points the audition process becomes prohibitive, and how else we might be able to evaluate the same skills in our existing substitute musicians. Through this discussion, we developed an alternative pathway for our regular substitutes to fill an open position within the Core Orchestra.

We named this new process the “Pathways” audition process. For a Pathways audition, we count regular substitute playing as equivalent to a first round audition. After confirming eligibility with section principals and interest with eligible candidates, we select an audition committee to evaluate a potential “Pathways” candidate during the course of one concert set. This audition is evaluated using the same rubric and process as the second round audition, with committee members making a hiring recommendation following the work trial.

Regardless of audition process, once a candidate is recommended for Core Orchestra membership by an audition committee and accepts the position, the probationary period begins. Per our Musician Policies and Procedures:

• Musicians on probation will meet with the Music Director, the General Manager, and their section leader, if relevant, at the beginning of the season to discuss expectations, criteria for evaluation, and timelines.

• Musicians on probation will meet with the Music Director, the General Manager, and their section leader, if applicable, to give and receive feedback on their experience during or after the first four (4) concert programs performed with the orchestra in their position. Concert programs where the Music Director is unable to attend will not count towards this total, apart from in exceptional circumstances.

• Both verbal and written feedback will be provided by the Music Director, in consultation with the relevant Core Orchestra members, after the four (4) concert programs have been performed.

• If there are no concerns with the musician's performance after the four (4) concert programs, the musician will be notified that they have successfully completed the probationary period and will become a Core Musician at no later than the start of the (5th) fifth program. If there are concerns regarding the musician's performance, the musician will be given the opportunity to address the concerns within the next three (3) concert programs.

• If the Music Director, in consultation with the relevant Core Musicians, concludes that the musician is unable to address the concerns following the three (3) concert programs, they will be notified that they will not be invited to continue in the position; or

• If the Music Director, in consultation with the relevant Core Musicians, concludes that there are no concerns at the end of the additional three (3) concert programs, the musician will be notified that they have successfully completed the probation and will become a Core Musician.

To play as a substitute with the Walla Walla Symphony, a musician must submit a cover letter, resume, and two contrasting orchestral excerpts. Substitutes are evaluated on the same skills as Core Orchestra members by the relevant section leader or principal. Qualifying substitutes are then added to the “sub list” for the relevant section.

The sub list for each section is maintained and ranked via collaboration by the section leader or principal and the General Manager. We update our sub lists every year, adding new names as we get to know new players in the region, and striking names of people who have retired or moved away. In most cases, when a concert demands that we hire substitutes (say we need a third flute or trumpet, or one of our Core Orchestra cellists is unavailable, etc.), we know exactly who we are going to ask as they will be the first name on our sub list. 

We love prioritizing local musicians for substitute hiring when at all possible, and we love asking the many high quality musicians who are also really fantastic colleagues to come back and play with us as often as possible!

If you are a musician who is new to our area, welcome! We encourage you to submit a substitute audition, since this is the fastest way for you to connect with us.