Audition

Applicants will demonstrate familiarity with all major and minor scales and arpeggios, and will be expected to demonstrate sight-reading ability with material chosen by the instructor.

Flute

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Curtis no longer accepts flute applicants for the Post Baccalaureate program.

Prescreening

Applicants should prepare a video recording of (at least) one movement from each of three contrasting pieces. Works with piano (or other instrumental) accompaniment should be performed with piano accompaniment.

Live Audition (if advanced)

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 will play:

• Three complete prepared pieces (all movements) in contrasting tempo and style
• Three orchestral excerpts
• Applicants should perform from memory if possible

Oboe

There will be no pre-screening. The live audition will take place in three rounds, the first two of which are blind. The last round will involve concerto playing, an interview, and sight-reading. A three-minute solo oboe composition by a Curtis composer will be compulsory for all applicants in the second round. A pianist will be provided. Candidates will prepare:

1a) A Baroque slow movement of the candidate’s choice, three to six minutes in length. Please include all repeats.

1b)  For undergraduate applicants:

• Pierre Sancan: Sonatine for oboe and piano, Mvt. 1

For graduate applicants:

• Pierre Sancan: Sonatine for oboe and piano, Mvts. 2 and 3

2a) For undergraduate applicants, choose one of the following:

• Marina Dranishnikova: Poeme
• Vivian Fine: Sonatina
• Ulysses Kay: Suite in B for oboe and piano
• Alyssa Morris: Four Personalities (Mvt. 3 and one other movement of choice)
• Clara Schumann: Romances Op. 22, Pick 2/3
• William Grant Still: Incantation and Dance

For graduate applicants, choose one of the following complete works:

• Grażyna Bacewicz: Oboe Sonata
• Jean Coulthard: Sonata
• Madeline Dring: Three Piece Suite
• Chiayu Hsu: Contrast for Oboe and Piano (Curtis composer)
• Brian Nabors: Sonata for Oboe and Piano
• Makoto Shinohara: Obsession

2b) Compulsory piece (solo oboe) by a Curtis composer

• Adrian Wong: lock, turn, roll, cut, proof, bake, eat [Download Score]

3) For the final round, one of the following complete works:

• Marie Clemence de Grandval: Oboe Concerto
• Lukas Foss: Oboe Concerto (Curtis composer)
• Eugene Goossens: Oboe Concerto
• Ruth Gipps: Oboe Concerto
• Jennifer Higdon: Oboe Concerto (Curtis composer)
• N. Hummel: Introduction, Theme, and Variations
• Jacques Ibert: Sinfonia Concertante
• J.W. Kalliwoda: Concertino in F
• Franz Krommer: Concerto No. 2 in F, Op. 52
• Ulysses Kay: Oboe Concerto
• L.A. Lebrun: Concerto No. 1 in d minor
• Jean-Marie Leclair: Oboe Concerto
• Bohuslav Martinu: Oboe Concerto
• Thea Musgrave: Night Windows (for oboe and strings)

Clarinet

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

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.

Prescreening

• The exposition of the first movement of the Mozart concerto (with piano accompaniment)
• The following orchestral excerpts:
• Mendelssohn, A Midsummer Night’s Dream (beginning to letter A, 6th bar of letter D to 19 bars after letter E)
• Rimsky-Korsakov, Capriccio Espagnol, movement 1 (letter A to letter B, letter C for 21 bars)
• Brahms, Symphony No. 3, movement 1 (bars 26-46), movement 2 (beginning for 22 bars)
• Resphigi, Pines of Rome, Mvt. III (“I pini del Gianicolo”): Complete
• Rimsky-Korsakov, Scheherazade, Op. 35, Mvt. II: Rehearsal F – Rehearsal G cadenza
• Rimsky-Korsakov, Scheherazade, Op. 35, Mvt. III: Rehearsal G – Rehearsal H
• Stravinsky, The Firebird Suite Mvt. III Variation of the Firebird: Complete

Live Audition (if advanced)

Applicants will play:

• The Mozart clarinet concerto
• Adolphus Hailstork’s Three Smiles for Tracy
• Two contrasting pieces from the Rose Thirty-two Études
• A prepared piece of the applicant’s choice
• A 20th-century piece of the applicant’s choice

Bassoon

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

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.

Prescreening

• Movements 1 and 2 of a concerto by Mozart, Weber, or Hummel (expositions only; accompaniment is not required)
• Two of the following orchestral excerpts:
  • Marriage of Figaro Overture (mm. 139 – 171)
  • Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
  • Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
  • Bolero (solo)
  • Rite of Spring (opening solos)
  • Scheherazade (Mvt. 2, solo and cadenzas)
  • Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 – 25, 184 – 188, 300 – 303, 348 – end)
  • Firebird (Berceuse solo)
  • Shostakovich, Symphony No. 9 (solo from Mvts. 4 – 5)
  • Ravel, Piano Concerto (Mvt. 1, rhl. 9 – 10, and Mvt. 3, rhl. 14 – 16)

Live Audition (if advanced)

• Choose the first two movements, (complete with cadenzas where applicable), of one the following:
  • Hummel: Concerto in F
  • Mozart: Concerto in B-Flat
  • Weber: Concerto in F
• Choose one of the following (complete):
  • Jenni Brandon: Colored Stones
  • Nancy Galbraith: Sonata for Bassoon and Piano
  • William Grant Still: Songs for Bassoon and Piano 
  • Adolphus Hailstork: Bassoon Set 
  • Ulysses Kay: Sonata for Bassoon and Piano
  • José Siqueira: Drei Etuden (Three Etudes) for Bassoon and Piano
  • Jacqueline Wilson Dance Suite for Solo Bassoon 
• Choose three of the following orchestral excerpts:
  • Beethoven: Symphony No. 4 (mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
  • Mozart: Marriage of Figaro Overture (mm. 139-171)
  • Ravel: Bolero (Solo)
  • Ravel: Piano Concerto (mvt. 1, rehearsal number 9-10; mvt. 3, rehearsal number 14-16, both parts combined)
  • Rimsky-Korsakov: Scheherazade (mvt. 2, solo and cadenzas)
  • Shostakovich: Symphony No. 9 (solo from mvt. 4-5)
  • Stravinsky: Firebird (Berceuse solo)
  • Stravinsky: Rite of Spring (Opening solos)
  • Tchaikovsky: Symphony No. 4 (mvt. 2, solo to end)
  • Tchaikovsky: Symphony No. 6 (mvt. 1, opening solo)

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.

Trumpet

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status no later than one month prior to the audition date.

Prescreening

Solo Pieces

• One movement of either the Hummel Concerto in E-flat or Haydn Concerto in E-flat
• Pakhmutova Concerto for Trumpet (Beginning – No. 12)
• Contemporary Solo Work (Graduate applicants only)

Etudes

• 2 standard etudes of contrasting styles

(Choose from Bitsch, Bordogni, Bousquet, Brandt, Charlier, Sachse, Smith–Top Tones, Wurm, etc. or similar materials)

Orchestral Repertoire

For undergraduate applicants, choose 3 of the following excerpts:

• Beethoven – Leonore Overture No. 3 (played one time)
• Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
• Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
• Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
• Respighi – Pines of Rome (Movement II. – Offstage Solo)
• Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)

For graduate applicants, choose 3 of the following excerpts:

• Bach – Magnificat (Movement I, Bars 1 – 31)
• Beethoven – Leonore Overture No. 2 (played one time)
• Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
• Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
• Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
• Ravel – Concerto in G (Movement I, Reh. 2 – 3)
• Respighi – Pines of Rome (Movement II. – Offstage Solo)
• Strauss – Don Juan (Lyrical Solo, 5 Bars before Reh. F – G)
• Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)

Live Audition (if advanced)

For undergraduate and graduate applicants:

1. Hummel Concerto in E-flat or Haydn Concerto in E-flat, complete 
2. Pakhmutova Concerto for Trumpet (Beginning – No. 12) 
3. Contemporary Solo Work (Graduate applicants only)
4. 2 standard etudes of contrasting styles
5. All orchestral excerpts listed in the prescreening requirements 

You may be asked to sight read.

Horn

Prescreening 

Applicants must submit a prescreening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status. Please record the following repertoire in one continuous take, no editing.

• First movement, Strauss Horn Concerto No. 1
• Fourth horn solo from Third movement, Beethoven’s Symphony No. 9 (mm. 83-99)
• Short call from Wagner’s Siegfrieds Rheinfahrt

Live Audition (if advanced)

Applicants will demonstrate familiarity with all major and minor scales and arpeggios. In addition, applicants will play:

• One movement of a concerto or sonata
• One étude by Kopprasch and one by Gallay
• The following orchestral excerpts:
  • The last movement of Brahms’s Symphony No. 1
  • The second horn part from the trio of the third movement of Beethoven’s Symphony No. 3
  • The second movement of Tchaikovsky’s Symphony No. 5
  • R. Strauss’s Till Eulenspiegel
  • Ravel’s Pavane pour une infante defunte
  • The short call from Wagner’s Siegfrieds Rheinfahrt
  • The first movement of Beethoven’s Symphony No. 7
  • 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 must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

Tenor Trombone Prescreening

Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.

• One movement from a concerto, sonata, or other substantial solo work.
• One technical étude by Kopprasch, Tyrell, or Blazhevich.
• One lyrical étude by Bordogni, Rochut, or the equivalent.
• At least three orchestral excerpts of contrasting style.

Bass Trombone Prescreening

Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.

• One movement from a concerto, sonata, or other substantial solo work.
• One technical étude by Kopprasch, Tyrell, or Blazhevich.
• One lyrical étude by Bordogni, Rochut, or the equivalent.
• At least three orchestral excerpts of contrasting style.
• Six Major scales and arpeggios to be recorded as follows.
  • Record in one continuous take; do not stop the recording between scales.
  • Each scale should be two octaves ascending and descending with detached articulation, each followed by a slurred, two-octave arpeggio in the same key ascending and descending.
  • Start on the F at the bottom of the bass clef staff; then Gb, G, Ab, A, Bb.

Live Audition (if advanced Bass and Tenor Trombone)

Applicants will play:

• One complete concerto, sonata, or other substantial solo work.
• One technical étude by Kopprasch, Tyrell, or Blazhevich.
• One lyrical étude by Bordogni, Rochut, or the equivalent.
• At least three 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

The Curtis Institute of Music seeks an exceptionally talented and promising student to fill its single position for tuba. Prospective students are welcome to apply to either the undergraduate or graduate program; there is no preference for one over the other, and applicants will be assessed with their age in mind. For undergraduate applicants, it is recommended, but not required, to be proficient on both bass and contrabass tubas; graduate applicants are expected to play both instruments.

Prescreening

Applicants should prepare video recordings (unaccompanied) of the following repertoire. Each selection may be recorded separately, but there may not be any additional editing or splicing within each selection. Please position the video recorder so that the mouthpiece on the face is visible. Audio may be recorded separately and synced with video. Create a separate file for each selection, and label each clearly with the last name of the applicant and the name of the selection. Applicants are encouraged to use the best recording equipment available to them, and to carefully select the best microphone placement and recording level to reduce distortion. Experiment with the recording process in advance, so that your recordings represent you as well as possible.

For undergraduate applicants:

• Blazhevich, Etude #9
• Snedecor, Low Etudes for Tuba, #4
• Vaughan Williams, Tuba Concerto, movement 1, beginning to rehearsal 5; cadenza to end
• Wagner, Die Meistersinger Overture, measures 1–8; rehearsal J to rehearsal L
• Wagner, Ride of the Walküre, standard B-major excerpt

For graduate applicants:

• Blazhevich, Etude #17
• Snedecor, Low Etudes for Tuba, #18
• Vaughan Williams, Tuba Concerto, first movement including cadenza
• Wagner, Meistersinger Overture, measures 1-8; rehearsal J to rehearsal L
• Wagner, Ride of the Walküre, standard B-major excerpt
• Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
• Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)

Live Audition (if advanced)
For undergraduate applicants:

• Snedecor, Low Etudes for Tuba, #4
• J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
• Vaughan Williams, Tuba Concerto, movement 1, complete;  movement 2, rehearsal 1 to rehearsal 3
• Wagner, Die Meistersinger Overture, measures 1–8; rehearsal J to rehearsal L
• Wagner, Ride of the Walküre, standard B-major excerpt
• Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
• Mahler, Symphony No. 1, third movement solo (until rehearsal 4)

Sight reading may be required.
For graduate applicants:

• Snedecor, Low Etudes for Tuba, #18
• J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
• Vaughan Williams, Tuba Concerto, complete
• Wagner, Die Meistersinger Overture, measures 1–8; rehearsal J to rehearsal L
• Wagner, Ride of the Walküre, standard B-major excerpt
• Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
• Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)
• Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
• Respighi, Fountains of Rome, pick-up to rehearsal 11 to downbeat of rehearsal 14
• Mahler, Symphony No. 1, third movement solo (until rehearsal 4)
• Revueltas, Sensemaya, rehearsal 2 to rehearsal 11

Sight reading may be required.

Piano

In order to be considered for a live audition, applicants must submit a prescreening video together with their application. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

Prescreening

Applicants must submit a video of the following:

• A complete work of J.S. Bach
• One of the sonatas listed below, complete:
  • Any Mozart sonata (except K. 545)
  • Any Beethoven sonata (except Op. 49)
  • Any of these five Haydn sonatas:
    • A-flat major, Hob. XVI:46, L. 31
    • C minor, Hob. XVI:20, L. 33
    • E-flat major, Hob. XVI:49, L. 59
    • C major, Hob. XVI:50, L. 60
    • E-flat major, Hob. XVI:52, L. 62
• One slow (lyrical) and one fast (virtuosic) selection from the works of Chopin for solo piano.
  • Please review the Chopin guidelines here: Chopin Repertoire Guidelines

No substitutions for the above repertoire will be allowed.

Video requirements:

• playing from memory
• both hands showing
• recorded not more than six months before the application deadline
• movements may be recorded separately, but each movement should be one uninterrupted recording with no splicing or editing (except equalization and/or reverb)
• each selection should be a separate file, clearly labeled according to the format: Last Name, First Name | Composer, Title, Key, Opus Number | Movement Number (example: Smith, Joe | Beethoven Sonata in F minor, Op. 2, No.1 | IV)

Live Audition (if advanced)

In addition to all of the prescreening repertoire above, applicants must prepare a complete major solo-piano work of their choice. The piece should be a minimum of 10-12 minutes in length; no separate movements or concerti are allowed. The solo piano work will only be asked in the final round of the auditions.

All pieces should be played from memory.

No repertoire changes/substitutions allowed within one month of live audition.

Organ

Live Audition 

Applicants will be asked to play the following pieces from memory.

• A prelude and fugue by J. S. Bach
• Any third movement from a Trio Sonata by J.S. Bach, BWV 525–530
• One piece from the Romantic repertoire
• One piece idiomatic of the 20th/21st century

Please note: The Romantic piece and 20/21st century piece should contrast, one being lyrical and the other virtuosic.

Organ applicants will also be asked to sight read. A modern composition will be sent to each auditionee one month prior to auditions and will be performed (from memory, if preferred) at the audition.

The organ in Field Concert Hall is an Aeolian-Skinner, 5 manuals, 116 ranks.

Preliminary Round

All applicants should submit a video that includes the following materials.

• One classical snare drum solo/etude
• One four-mallet solo (one movement of a solo will suffice)
• One timpani etude or solo

Note: This round has no orchestral excerpts, no two-mallet solo, and no rudimental solo. It can be one or multiple videos. You may submit three videos; however, no individual video(s) editing is allowed.

Live Audition

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 (final round only). They should be prepared to perform:

• One study on timpani
• One two-mallet work on marimba or xylophone
• One four-mallet work on marimba or vibraphone
• Two studies on snare drum—one classical and one rudimental

For applicants who are presently 18 years old or younger and completing high school, one orchestral excerpt on snare drum, xylophone, and timpani is optional.

Applicants will also be expected to demonstrate their ability to sight read. Applicants must possess a good ear and be able to sing and recognize all intervals (final round only).

In addition to the above repertoire, any student applying in the following categories of post-secondary study must add orchestral excerpts as noted here:

• If you are transferring from a present level of undergraduate study, prepare 2 excerpts on snare drum, 2 excerpts on mallets, 2 excerpts on timpani
• If you have already completed a bachelor’s degree, prepare 3 excerpts on snare drum, 3 excerpts on xylophone, 1 excerpt on glockenspiel, 3 excerpts on timpani
• If you have already completed a master’s degree, prepare 4 excerpts on snare drum, 4 excerpts on xylophone, 2 excerpts on glockenspiel, 4 excerpts on timpani

Violin

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

Prescreening

All applicants must play from memory.

Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording; please include at least one slow tempo movement:

• One movement from a major concerto.
• One movement from a Mozart concerto including cadenza
• Two movements from a Bach solo sonata or partita
• A Paganini caprice

Live Audition (if advanced)

For undergraduate applicants (Bachelor of Music and Diploma):

• A complete major concerto
• A complete Mozart concerto
• A complete Bach solo sonata or partita
• A Paganini caprice

All applicants must play from memory.

For graduate applicants (Post Baccalaureate Diploma or Master of Music):

• All of the same repertoire requirements as Bachelor’s candidates above, PLUS
• A complete sonata from this list: Faure A Major, Schumann a minor, Brahms G Major, or Schubert A Major Duo
• A commission from a Curtis student composer written expressly for the audition, for solo violin and under five minutes in length. The piece will be sent to all those who pass the prescreening round, as soon they’ve been selected.

All works should be played from memory except the sonata and the new commissioned piece.

Viola

Prescreening

Each piece or movement should be submitted without edits, with a single camera angle that shows your hands and arms clearly. The entire prescreening program should be memorized.

• A major movement of at least 7 or 8 minutes’ length from the concerto chosen for the live round (see list below). For example, if playing Bartók in the live round, submit the 1st movement for prescreening; if playing Schnittke, submit the 2nd or 3rd movement; if playing Penderecki, submit a substantial (7–8 minute) stretch of the work; and so on. With accompaniment.
• Two movements from the Bach work chosen for the live round (see list below). Please omit any repeats.
• The short unaccompanied work or movement from the 20th or 21st century chosen for the live round (see list below).

Live Audition (if advanced)

Entire live audition program should be memorized except item 2 in the list below.

Applicants will play:

• An entire major concerto from the 20th or 21st century, such as Bartók, Walton, Hindemith Der Schwanendreher, Penderecki, Schnittke, or Higdon. The concerto does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
• An entire sonata or sonata-like work drawn from the 19th century or later, for example a Brahms sonata, Vieuxtemps Sonata Op. 36, Schumann Märchenbilder, Bax Sonata, Hindemith Sonata (1939), or Shostakovich Sonata. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
• An entire unaccompanied work by J.S. Bach, drawn from either the Cello Suites or Violin Sonatas and Partitas.
• A short, unaccompanied work or movement from the 20th or 21st century, for example a movement from a Reger suite or Hindemith solo sonata, a movement from the Ligeti Sonata, the Penderecki Cadenza, Joan Tower’s Wild Purple, or a caprice by Atar Arad. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.

Cello

Prescreening

Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording.

• A prelude plus another complete movement with repeats of a J.S. Bach suite
• First movement with cadenza of one of the following concertos:
  • Barber
  • Bloch, Schelomo (It could end at the beginning of the e-minor section or until the Andante. Complete work is fine too.)
  • Dvorak
  • Elgar
  • Haydn in C or D
  • Lalo
  • Prokofiev, Sinfonia Concertante
  • Saint-Saëns No. 1
  • Schumann
  • Shostakovich No. 1 (combination of 2nd & 3rd movements or 3rd and 4th movements; 1st movement will not be accepted)
  • Shostakovich No. 2
  • Tchaikovsky, Rococo Variations (If the Fitzenhagen version of Rococo Variations is chosen, please play the Theme and Variations 1, 2, 3, and 7; if the original version of Rococo Variations is chosen, please play the Theme and Variations 1, 2, 3, and 4.)
  • Walton
• A complete étude from Popper, Op. 73, or an étude by Piatti
• First movement with accompaniment of one of the sonatas by Beethoven or Brahms

Live Audition (if advanced)

For undergraduate applicants:

• All prescreening requirements

For graduate applicants:

• a complete J. S. Bach suite
• one of the following concertos, complete:
  • Barber
  • Bloch, Schelomo
  • Dvorak
  • Elgar
  • Haydn in C or D
  • Lalo
  • Prokofiev, Sinfonia Concertante
  • Saint-Saëns No. 1
  • Schumann
  • Shostakovich No. 1 or No. 2
  • Tchaikovsky, Rococo Variations
  • Walton
• an étude from Popper, Op. 73, or an étude by Piatti
• one of the sonatas by Beethoven or Brahms, complete.

Everything except the Beethoven or Brahms is to be played from memory.

Double Bass

Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status.

Prescreening

Applicants should prepare a five to ten minute video recording of a work or works that best exhibits their skills.The choice should be similar to, but not limited to the Double Bass live audition repertoire.

Live Audition (if advanced)

Applicants will play from memory:

• A movement written before 1830, preferably from a solo work by Bach.
• A movement written after 1830.
• One other work from any period, which could be another movement from the required works above.The pieces may be originally written for Double bass or transcribed from another instrument. The three choices should show the strengths of the applicant as completely as possible.
• In addition, two prepared excerpts from the standard orchestral literature will be required (music may be used for this portion only).

Harp

To apply/Prescreening:

a) Interested prospective applicants will submit their proposed audition repertoire to the Admissions office via email to admissions@curtis.edu for faculty approval.

b) After faculty approves repertoire, applicants should submit their application, including prescreening materials.

Applicants will play from memory:

• One solo work from the Baroque or Classical period
• One solo work from the 20th century
• One free-choice solo work of any period, similar in difficulty as Faure Impromptu, Pierne Impromptu-Caprice, Tournier Feerie, Grandjany Rhapsodie, and Salzedo Variation on a Theme in the Ancient Style
• Two prepared excerpts from the standard orchestral literature (memorization not required)

All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty.

c) Applicants will be notified of their live-audition status no later than one month prior to the audition date.

Live Audition (if advanced)

Before applying, all applicants should submit their proposed audition repertoire to the Admissions office via email to admissions@curtis.edu for faculty approval.

Applicants will play from memory:

• One solo work from the Baroque or Classical period
• One solo work from the 20th century
• One free-choice solo work of any period
• Two prepared excerpts from the standard orchestral literature (memorization not required)

All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty. All works should be prepared in their entirety; no single movements.

All auditioning harpists may use Curtis harps to practice (48 hours prior to the audition only) and audition. Available harps:

• Lyon & Healy 2 Style 30’s
• Lyon & Healy Salzedo (audition harp only)

Prescreening

Please submit the following materials with your application:

• A full group bio (or link to the quartet’s website) detailing information including the ensemble’s history, formal training, residencies, competitions, and awards
• A full repertoire list

The pre-screening recording requirements are as follows:

Quartets must submit a high-quality audio-visual recording using the following repertoire guidelines. Selections should be contrasting in style.

• A movement of a work from the standard classical repertoire
• A movement of a work from the standard romantic repertoire
• A movement or work from the period 1900-1975
• A movement or work from the period 1975-present

The recording must be representative of the quartet’s current work, and the ensemble must be clearly visible.

Live Audition (If advanced)

The included repertoire should represent a variety of musical periods and styles. For the audition, the quartet should perform for approximately 45 minutes. The first selection is a movement of the group’s choice.  Subsequent selections of pieces and movements will be made by the audition committee. Finally, there will be a 15-minute interview/discussion conducted by the audition committee. The quartet should be prepared to comment on the group’s background, goals, etc.

Summer Program Opportunity

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Learn more here.

Live Audition

Applicants will play works selected from categories A through E. Everything except the chamber piece is to be played from memory.

A. Two of the following études by different composers:

• Regondi, Étude No. 2
  Regondi, Étude No. 5
  Regondi, Étude No. 8
  Regondi, Étude No. 10
• Sor, Studio in G Major, Op. 29, No. 3
  Sor, Studio in A Major, Op. 6, No. 6
  Sor, Studio in C Major, Op. 29, No. 17
• Villa-Lobos, Étude No. 3
  Villa-Lobos, Étude No. 7
  Villa-Lobos, Étude No. 10

B. One of the following complete pieces:

• J. S. Bach, Chaconne from Partita in D minor, BWV 1004
• J. S. Bach, Lute Suite No. 2, BWV 997
• J. S. Bach, Lute Suite No. 3, BWV 995
• J. S. Bach, Prelude, Fugue and Allegro, BWV 998
• Giuliani, Variations on a March by Cherubini, Op. 110
• Matiegka, Sonata in B minor, Op. 31, no. 6
• Regondi, Introduction and Caprice, Op. 23
• Regondi, Reverie-Nocturne, Op. 19
• Sor, Fantaisie, Op. 7
• Sor, Fantaisie No. 7, Op. 30
• Sor, Souvenirs d’une Soiree a Berlin, Op. 56
• Sor, Fantaisie Elegiaque, Op. 59

C. One of the following complete pieces:

• Ponce, Thème varié et finale
• Ponce, Sonata No. 3
• Ponce, Variations and Fugue on “La Folia”
• José, Sonata
• Britten, Nocturnal after John Dowland
• Walton, Bagatelles
• Ginastera, Sonata, Op. 47
• Carter, Changes
• Berio, Sequenza XI
• Brouwer, Sonata

D. One of the following concertos (first movement only; accompanist provided)

• Giuliani, Concerto in A major, Op. 30
• Ponce, Concierto del Sur
• Rodrigo, Concierto de Aranjuez

E. One of the following chamber pieces (chamber partner provided)

• Crumb, Mundus Canis: movements 2 and 4
• Giuliani, Rondo, Op. 68, No. 2 in B minor (for guitar and piano)
• Kolb, Umbrian Colors (for violin and guitar), movement 1
• Lerdahl, Three Bagatelles (for violin and guitar), movement 2
• Takemitsu, Toward the Sea (for alto flute and guitar), movement 3

Prescreening

Composition applicants will submit two to three original compositions. Wherever possible, applicants should submit scores for each work, though Curtis will consider works that cannot be represented in this way. Submission of accompanying recordings is strongly recommended (MIDI is acceptable).

These works can be in any genre and written for any forces. Multi-movement works are acceptable. Applicants’ original compositions will be reviewed by Curtis’s composition faculty and are the primary criteria for admission.

Live Audition (if advanced)

Finalists will be invited to campus for in-person interviews at Curtis in Philadelphia. Virtual interviews can be arranged if needed.

Conducting applications are accepted for the post-baccalaureate diploma program only. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.

Prescreening

Applicants must submit a high-quality audio-visual recording. Please see the Curtis website for all relevant deadlines.

• Include three to four excerpts showing various musical styles from standard orchestral, operatic, and contemporary works. The excerpts can be derived from performances or rehearsals, and the entire recording should not exceed 20 minutes in length. Please provide recording dates for each excerpt.
• Include a 45 second video of you conducting while singing an excerpt of your choice from one of the pieces you have included in your audition video.  No accompaniment or orchestra is required.  (iPhone video is acceptable for this requirement).
• The recording must be representative of the applicant’s current work.
• The applicant must be clearly visible.

Live Audition (if advanced)

All Conducting Fellow applicants selected for a live audition will have an interview with Curtis faculty, will demonstrate their score-reading, ear-training, transposition, and sight-singing skills, and will be asked to perform a short work on their primary instrument.

The second day of auditions will consist of the conducting round. Repertoire for the final conducting round will be announced at least three weeks in advance of the live audition.

Voice (Bachelor of Music and Diploma Programs)

All applicants in voice are required to submit a screening recording with application materials. Applicants must possess a high school diploma or equivalent by the time they enroll at Curtis.

The following format types are accepted:

• Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
• Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
• Documents (.doc, .pdf, .xls)

Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB. Please upload each piece as its own file.

Prescreening

Three repertoire selections – one selection in English, one aria, and one selection from German Lieder, Italian, or French art songs from any period. Video recordings should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you. Pre-recorded accompaniment is acceptable.

Live Audition (if advanced)

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 in English (not a translation)
• three selections from the standard repertoire, German lieder, classic Italian songs, or French and English songs of any period
• an aria from an opera or oratorio

Graduate – Master in Opera and Professional Studies Certificate: Opera

All applicants in voice are required to submit screening video recordings with application materials. Please see the Curtis website for all relevant deadlines.

The following format types are accepted:

• Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
• Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
• Documents (.doc, .pdf, .xls)

Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB. Please upload each piece as its own file.

Prescreening

Three contrasting opera arias. Videos should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you. Pre-recorded accompaniment is acceptable.

Live Audition (if advanced)

Vocalists who audition live will be asked to perform, from memory, up to five contrasting arias from the standard operatic repertoire.

We encourage applicants to explore the repertoire from composers underrepresented in the canon when selecting their audition material. The two links below are for reference.

• Institute for Composer Diversity Database
• Music by Black Composers Database

Substitutions or exceptions to the audition repertoire are not permitted. While the choice of composition is important, audition performance carries the greater weight. Audition candidates may be asked to demonstrate their sight-reading ability. A knowledge of piano and music theory is desirable. Please reach out to a member of the admissions team at admissions@curtis.edu with any questions about specific repertoire and audition requirements.

Live auditions are held on campus at 1726 Locust Street or at Lenfest Hall at 1616 Locust Street. Curtis does not hold regional auditions at this time.

Auditions consist of pre-recorded submissions, interviews, and in-person rounds during February and March. If in-person rounds are not possible, the admissions team will coordinate safe and equitable live virtual auditions. A final decision on the audition format will be made closer to the application deadline in early December.

In-person auditions are organized in groups. You will be given a time to meet along with other applicants and will draw a number to make the audition order as fair as possible. Once the order is determined, you will be told a time when you should be back to wait for your warm-up room. You will have around 30 minutes of warm-up time in a designated room. Curtis student proctors will be running most of the logistics, under the supervision of the admissions team. Students are happy to answer any questions you may have about Curtis while you wait.

It depends on the department for which you’re auditioning. The Repertoire section of this page outlines requirements for repertoire and memorization.

Audition repertoire varies by major department. The best way to determine the repertoire requirements is to visit the Repertoire section of this page.

In a typical year, each applicant may warm-up for 30 minutes in an assigned practice room before the audition. The audition proctors will take you to your practice room at your designated time. Please plan to arrive at least 10 minutes before your slotted audition time.