In superficial terms, to have an orchestral career is to be better than others, or at least to be chosen over others on that particular occasion; it is a form of survival. For, say, a horn player, the possibility of a split note – basically, when the wrong sound comes out – is a daily audition, an “interview” on which continued employment hinges. It is no wonder that the name Richard Strauss – with his epic exposed solos – strikes fear into the hardiest horn player’s soul.