In a notable shift within classical music hiring practices, professional orchestra auditions are increasingly incorporating excerpts from film scores and contemporary works alongside traditional classical pieces. This change reflects broader efforts to diversify repertoire and attract new audiences.

Michael Banks, a 25-year-old double bassist, recently secured the assistant principal bass position with the Pittsburgh Symphony Orchestra after an audition that included a challenging 30-second passage from John Williams’s “Jaws” soundtrack. Known as “The Shark Cage Fugue,” the excerpt tests technical skill and rhythmic precision, particularly through a complex string crossing early in the cue. Although the orchestra’s core programming remains rooted in classical composers such as Beethoven, the inclusion of film music in auditions demonstrates evolving expectations for musicians.

Orchestra auditions are highly competitive and are essentially meritocratic—candidates’ performances during multiple rounds determine hiring decisions. These auditions typically feature solo repertoire and a series of short excerpts tailored to each instrument. To minimize bias, auditions are generally conducted “blind,” with candidates performing behind a screen.

The selection of audition excerpts is becoming more varied, with pieces from film scores like “Star Wars” and “Harry Potter” increasingly common, alongside works by living composers. Laura Colgate, concertmaster of the National Philharmonic and cofounder of the Boulanger Initiative—a group advocating inclusion of underrepresented composers in orchestral programming—notes the growing presence of these modern works in repertoire lists. The initiative actively collaborates with orchestras to identify excerpts from diverse composers, including Pulitzer Prize-winner Jennifer Higdon and Jessie Montgomery.

While traditional excerpts remain widely used, some orchestras and conservatories are progressively updating their audition materials to include contemporary and underrepresented pieces. This trend signifies both a moral commitment to diversity and a strategic effort to reach broader audiences. Caitlin Mehrtens, principal harpist at Houston Grand Opera, emphasized the importance of including newer repertoire, citing the increasing technical demands of film music excerpts like Williams’s “Fluffy’s Harp” from “Harry Potter and the Sorcerer’s Stone.”

Preparing for these auditions requires years of dedicated practice, often beginning in high school and continuing through conservatory training. Musicians must not only master the notes but also adapt to the interpretive nuances specific to each orchestra. Alex Carroll, a bassist and fellow at the Cleveland Institute of Music, highlighted the challenges of learning new works that may have multiple versions or evolving composer intentions.

Despite this progress, some orchestras maintain a traditionalist stance, focusing primarily on canonical Western classical works. Banks himself has encountered skepticism from those who believe proficiency in standard repertoire automatically translates to success in newer material.

Overall, the integration of film and contemporary music into audition repertoires signals a broader transformation within the classical music world, balancing respect for tradition with a recognition of the evolving musical landscape.