The audition repertoire requirements of Curtis's major departments are detailed below.

Some departments permit latitude in the selection of works to be presented, while others require specific repertoire. All applicants must comply with the requirements set forth by the department to which they have applied. No substitutions or exceptions to the stated audition requirements will be permitted. In addition to the stated requirements, applicants may be asked to show their sight-reading ability. A knowledge of piano and music theory is desirable.

While the choice of composition is important, audition performance carries the greater weight. The final admission decision rests upon the evidence of talent shown rather than upon the degree of proficiency already attained. Admission is limited to those whose inherent musical gift shows promise of development to a point of exceptional professional quality.

NOTE: In major departments with more than one instructor, student placement is determined by the consensus of the faculty of that department.

AUDITION REPERTOIRE REQUIREMENTS

COMPOSITION
Applicants will submit no more than two compositions. Submissions of orchestral compositions are encouraged but are not required. A personal interview in Philadelphia may be required for candidates considered as finalists.

Manuscripts, to be sent by registered mail, must be postmarked between October 1 and December 11, 2007. Applicants are strongly urged to send copies of their work, not originals. Submission of tapes or CDs is encouraged but is not required. If you wish the manuscripts to be returned, you must include a postpaid envelope with the manuscripts. Please note that electronic music techniques are not taught at Curtis. Applicants must be under twenty-eight.

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CONDUCTING: The Helen F. Whitaker Fund Conducting Program
Applicants should possess a strong foundation in basic musicianship, including an excellent ear. Applicants will be asked to read a Bach chorale at the keyboard from a score employing three C-clefs (soprano, alto, and tenor) and bass clef. They will demonstrate familiarity with the orchestral literature including, but not limited to, the classical symphonic repertory. Applicants will be asked to demonstrate score-reading ability in a variety of repertoire.

Applicants should be proficient on at least one instrument and display the communicative and physical aptitude for a career on the podium. Applicants must be under twenty-eight.

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KEYBOARD INSTRUMENTS
Piano. Applicants will play from memory: (1) a complete work of J. S. Bach; (2) any Mozart sonata (except K. 545) or any Beethoven sonata (except Op. 49) complete; (3) one slow and one fast selection from the works of Chopin for solo piano (no works
of Chopin for piano and orchestra will be acceptable); and (4) a major solo work (at least ten minutes long) of the applicant’s choosing. No substitutions for the above repertoire will be allowed. Applicants must be under twenty-one.

Harpsichord. Applicants will play from memory: (1) two Scarlatti sonatas; (2) two contrasting movements from a suite by
J. S. Bach; and (3) a work of their own choice from the French claveçin school or the English virginalists. Applicants must be under
twenty-three.

Organ. Applicants will play from memory: (1) a prelude and fugue by J. S. Bach; (2) an allegro movement from a Bach trio sonata or comparable chorale-prelude; and (3) two movements from the romantic or contemporary literature, one of which should be a slow movement. Applicants must be under twenty-three.

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ORCHESTRAL INSTRUMENTS
STRINGS
In addition to fulfilling the specific requirements below, all string applicants must be prepared to play all major and minor scales and arpeggios in fluent tempo.

Violin. Applicants will play from memory: (1) a complete concerto
by Mozart; (2) a complete sonata or partita for violin alone by J. S. Bach; (3) a caprice by Paganini; and (4) another complete standard concerto for violin. Applicants must be under twenty-one.

Viola. Applicants will play: (1) a complete J. S. Bach suite; (2) a
complete concerto by Walton or Bartók, or Der Schwanendreher
by Hindemith; (3) one movement of an unaccompanied work by Hindemith or Reger; and (4) one of the Brahms sonatas or Schubert's "Arpeggione" sonata, complete. Everything except the Brahms or Schubert is to be played from memory. Applicants must be under twenty-three.

Violoncello. Applicants will play: (1) a complete J. S. Bach suite; (2) any one of the following concertos: Saint-Saëns No. 1, Boccherini in B-flat, Haydn in C or D, Dvorak, Lalo, Elgar, Shostakovich No. 1, Walton, or Schumann or the Tchaikovsky Rococo Variations; (3) an étude from Popper, Op. 73, or an étude by Piatti; and (4) one of the sonatas by Beethoven or Brahms,
complete. Everything except the Beethoven or Brahms is to be played from memory. Applicants must be under twenty-one.

Double bass. Applicants will play from memory: (1) a three-octave B-flat major and B-flat melodic minor scale with arpeggios;
(2) a movement from one of the six cello suites by J. S. Bach
(transcriptions permitted) or a solo work of the applicant's choice; and (3) the first two movements (with appropriate cadenzas included) of any one of the following concertos: Dragonetti, Koussevitzky, Dittersdorf (E major), Bottesini No. 2, or Vanhal. In addition two prepared excerpts from the standard orchestral literature will be required (music may be used for this portion). Applicants must be under twenty-three.

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Harp. Applicants will play from memory: (1) one Baroque piece; (2) one Romantic piece; (3) one Impressionist piece; and (4) one twentieth-century composition. If sonatas or suites are to be played, the entire piece is preferred. The harp department reserves the right to audition the students depending on the level of the repertoire submitted. Applicants must be under twenty-three.

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WOODWINDS
In addition to fulfilling the requirements of individual woodwind majors listed below, all applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor. Applicants must be under twenty-one.

Flute. Applicants will play three complete prepared pieces (all movements) in contrasting tempo and style, and two orchestral excerpts. Applicants should perform from memory if possible.

Oboe. Applicants will play: (1) one movement of a concerto or
sonata; (2) a fast étude by Ferling; (3) the third movement of the Mozart oboe quartet; and (4) a slow aria of J. S. Bach. Applicants must also be able to read an orchestral excerpt, and they may be given a written examination concerning their general knowledge of music. In honor of the seventh director of The Curtis Institute of Music, each year one new or current oboe student will be named the John de Lancie Scholar.

Clarinet. Applicants will play: (1) the Mozart clarinet concerto;
(2) two contrasting pieces from the Rose Thirty-two Études;
and (3) a prepared piece of the applicant’s choice.

Bassoon. Applicants will play the first two movements of the Mozart Bassoon Concerto from memory; all major and minor scales and arpeggios, three octaves where possible; and orchestral
excerpts as follows: Stravinsky: Berceuse solo from Firebird;
Tchaikovsky: slow movement solo from Fourth Symphony; and an excerpt of the student’s choice.

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BRASS
In addition to fulfilling the specific requirements below, applicants should possess physical aptitude for the chosen instrument, a good ear, a sense of rhythm, and the ability to read at sight. Applicants must be under twenty-one.

Trumpet. Applicants will play: (1) études from Bousquet and Charlier or equivalent; (2) one étude of the applicant’s choice in
melodic style; (3) Haydn’s trumpet concerto or equivalent; and (4) orchestral excerpts. Applicants must display at least rudimentary knowledge of transposition.

Horn. Applicants will read an orchestral excerpt and demonstrate
familiarity with all major and minor scales and arpeggios. In addition applicants will play: (1) one movement of a concerto or sonata; (2) one étude by Kopprasch and one by Gallay; and (3) the last movement of Brahms's Symphony No. 1, Mendelssohn's “Nocturne” from A Midsummer Night's Dream, the second movement of Tchaikovsky's Symphony No. 5, R. Strauss's Till Eulenspiegel, Ravel's Pavane, the short call from Wagner's Siegfried's Rhine Journey, the first movement of Beethoven's Symphony No. 7, and the third movement of Brahms's Symphony No. 3.

Trombone. Auditions will be held for tenor trombone and/or bass trombone, depending on the opening. Applicants will play: (1) one complete concerto, sonata, or other substantial solo work; (2) one technical étude by Kopprasch, Tyrell, or Blazhevich; and (3) at least two orchestral excerpts of contrasting style. Applicants may be asked to play all major and minor scales and to read at sight in
alto, tenor, and bass clefs.

Tuba. Applicants will play: (1) two contrasting études of Vasiliev,
Blazhevich, Rochut, or the like; (2) orchestral excerpts to include Berlioz, Prokofiev, and Mahler; (3) the first movement of the Vaughan Williams tuba concerto; and (4) the first movement of the Arnold brass quintet. CC tuba and F or E-flat tuba required.

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Timpani and Percussion. Applicants should demonstrate a knowledge of the fundamental techniques of percussion and timpani. They will be examined on timpani pitch recognition and technical skills such as rolls and single strokes, and they should be prepared to perform one study on timpani, one two-mallet work and one four-mallet work on marimba (xylophone), and one study on snare drum. Applicants will also be expected to demonstrate their ability to sight-read. Applicants must possess a good ear and be able to recognize all intervals. Applicants must be under twenty-one.

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VOCAL STUDIES
Voice (Bachelor of Music and Diploma programs). All applicants in voice are required to submit a screening CD or DVD (please no audio- or videotapes) in order to be considered for an invitation to audition in person. Name, age, and screening repertoire should appear on the CD or DVD and on the cover; the recording must be sent with the application, postmarked no later than December 11, 2007. Repertoire selections for the screening should include accompaniment and should show contrast in musical styles and tempos. Please make certain the recording is of good quality, as the granting of a live audition will depend upon this.

Applicants will be notified of decisions regarding live auditions by mid-February. Vocalists who audition live will be asked to perform up to four selections from memory, showing the character and quality of voice and musicianship. One selection must be in English (not a translation). Three selections must be chosen from the standard oratorio repertoire, German lieder, classic Italian songs, or French and English songs of any period. An aria from an opera or oratorio is welcome but not required. Though an accompanist is provided, voice applicants may supply their own accompanist if they prefer. A short test of musical theory and sight singing may be asked of the applicants in the final round of auditions. Applicants must be between the ages of eighteen (or a high-school graduate)
and twenty-four.

Opera (Master of Music and Professional Studies Certificate programs). All applicants in opera are required to submit a screening CD or DVD (please no audio- or videotapes) in order to be considered for an invitation to audition in person. Name, age, and screening repertoire should appear on the CD or DVD and on the cover; the recording must be sent with the application, postmarked no later than December 11, 2007. Repertoire selections for screening should include accompaniment and should show contrast in musical styles and tempos. Please
make certain the recording is of good quality, as the granting
of a live audition will depend upon this.

Applicants will be notified of decisions regarding live auditions by mid-February. Vocalists who audition live will be asked to perform from memory up to five contrasting arias from the standard operatic repertoire. Though an accompanist is provided, opera applicants may supply their own accompanist if they prefer. A short test of musical theory and sight singing may be asked of the applicants in the final round of auditions. Applicants must be between the ages of twenty and twenty-six.

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