From Dream to Reality - Navigating the Orchestral Trial Period with Gudrun Hinze
In our latest episode of Penthesilea On Air, I had the great pleasure of speaking with my esteemed colleague, co-founder of the Penthesilea Academy, and long-time solo piccolo player of the Gewandhaus Orchestra Leipzig, Gudrun Hinze, about a pivotal yet often overlooked phase in the lives of young musicians: the time after winning an orchestral audition. Gudrun’s insights, shaped by over three decades of experience both on and behind the stage as well as her work as a mentor, were not only enlightening—they were a wake-up call. That’s why I’d like to share some of the key takeaways from our conversation with you here.
Many young musicians carry a romanticized vision of life in an orchestra. But entering a professional ensemble often comes with a tough reality check. Gudrun spoke candidly about her first orchestral position more than 35 years ago, describing how, as a young woman, she joined a predominantly male, significantly older group. Friction between generations can arise, and the social dynamics require a great deal of sensitivity. One of the most powerful parts of our conversation was her account of not passing her first trial period. She emphasized how this delicate phase is shaped not only by musical skill, but by interpersonal dynamics. Competition, subtle jealousy, and insecurities within the orchestra can complicate one’s position. Her experience shows that surviving this time takes not only technical excellence, but emotional resilience.
One of Gudrun’s key pieces of advice to her younger self was: don’t seek validation from everyone. Staying true to yourself, setting healthy boundaries, and building inner strength are essential for a sustainable artistic career. I was particularly struck by her view of orchestral hierarchies—not as limitations, but as opportunities for orientation, learning from experienced colleagues, and personal growth. She compared the structure of an orchestra to that of a family—an inspiring metaphor that offered many of us a fresh perspective.
A fascinating concept Gudrun introduced was that of "radiance"—the unique aura musicians bring into a room, even before playing a single note. This energy creates a first impression, one that often mirrors the sound they produce, and it can unconsciously influence whether someone fits into the ensemble. I also found Gudrun’s perspective on rejection incredibly encouraging. She views rejection not as a personal failure, but as an important sign—perhaps that the path was not the right one, or that the timing wasn’t right. Her mindset is clear: every rejection offers a lesson. Success often requires the courage to let go.
Another thoughtful point she made concerned friendships within the orchestra. Real connections shouldn’t be built strategically. Especially during a trial period, what matters is authenticity—not popularity. Gudrun advises young women in particular to be aware of how their social behavior is perceived, and to consciously set boundaries. Preparation for joining an orchestra goes beyond just practicing your instrument. It's also about learning as much as you can about the orchestra itself: its history, its sonic identity, its current projects. Watching videos of performances and observing nonverbal communication can offer important insights into the ensemble’s culture. Communication skills and intercultural awareness are also increasingly crucial.
One topic that’s especially close to my heart is preserving one’s love of music amid the demands of daily orchestral life. Gudrun spoke about the importance of finding moments of silence and places of retreat—spaces where the original longing for music can be reignited. For her, the orchestra remains the emotional center of her musical life, but she also knows that sometimes, we need to step away in order to reconnect with ourselves. We also talked about the balance between blending into the ensemble’s sound and maintaining your own artistic identity. Gudrun likened the orchestral musician to an actor: you surrender to someone else’s music, but that doesn’t mean losing yourself. At home, she encourages musicians to play the pieces that keep them connected to their instrument on a personal level.
This conversation with Gudrun was not only informative for me—it was deeply inspiring. The path from a successful audition to a fulfilling career in an orchestra isn’t a destination, but a journey—one that requires time, reflection, and above all, humanity. I am sure Gudrun’s experiences support and empower you on your own path. If you’re interested in working with her and becoming part of our community: the doors of the Penthesilea Academy are open. We look forward to welcoming you.
🎧 Listen to the full episode here:
