BOSTON UNIVERSITY SCHOOL OF MUSIC Auditions for MU 650 and MU 670 September 2011

Auditions for MU650 (Large Ensembles) and MU670 (Chamber Music), required each September of every new and returning student, are important in determining everyone’s placement in and within chamber music, the , and the wind ensemble. Therefore, every student is asked to read and follow carefully all of the guidelines for these auditions. Each student is also asked to prepare all the required material with equal seriousness and care, as the presentation of solo material and the presentation of excerpts are equally important. Please bring your copy of the excerpts to the audition.

Each audition will be seven minutes long. Please note that some instrumentalists are required to prepare particular for their solos. Copies of the required orchestral excerpts may be obtained in several ways:

Downloaded from the website: http://www.bu.edu/cfa/music/current-students/ (recommended) As separate parts (usually Kalmus) or in excerpt books. We recommend that, if possible, you use complete parts instead of excerpt books. Cambridge Music in Boston (617-547-8263) will be pleased to assist. Downloaded from the International Music Score Library Project site: http://www.imslp.org. Scores and parts are often available here. From a master set of audition excerpts, from which copies may be made at the CFA Music Curriculum Library at the College of Fine Arts (855 Commonwealth Avenue). Telephone: 617-353-3731

Please read all instructions carefully.

All String Instruments:

1. A movement from a standard repertoire or a movement, except the first, of a Bach sonata or suite. Not accepted: Sonatas, other than those by J.S. Bach, or first movements of Bach suites or sonatas. Discouraged: Long works, such as large Romantic violin concerti (Tchaikovsky, Sibelius), Bach D minor Chaconne, Dvorak Concerto, etc. Since each audition will be only seven minutes long, the solo portion of your audition will be about three minutes long. Please choose your solo with this in mind.

2. The following excerpts from orchestral works.

Violin (all from Violin I part) Haydn: Symphony No. 100 in G, “Military” Mvt. IV, beginning through measure 80 (no repeats) Strauss: Death and Transfiguration Letter F to meno mosso after L Schubert: Quartet in D minor, “Death and the Maiden” Mvt. I, Letter A to end of Exposition Viola Beethoven: Symphony No. 7 in A Mvt. I, Vivace to D Strauss: Death and Transfiguration Appassionato after Letter O to W Schubert: Quartet in D minor, “Death and the Maiden” Mvt. IV, Letter A to end of Exposition Cello Beethoven: Symphony No. 7 in A Mvt. I, Letter I to fermata Strauss: Death and Transfiguration Allegro molto agitato to K; 10 measures after O to 5 after R Schubert: Quartet in D minor, “Death and the Maiden” Mvt. I, Letter B to end of Exposition Bass Beethoven: Symphony No. 7 in A Mvt. I, Vivace to m. 141; Letter I to fermata Strauss: Death and Transfiguration Allegro molto agitato to Letter F; 4 measures before K to K; 7 measures before T to U

Harp Mozart: Concerto for Flute and Harp (1st mvt) OR Handel: Concerto in B-flat (1st mvt) Stravinsky: Symphony in 3 Movemetns—entire work

Woodwind Instruments:

Flute (all flutists are asked to prepare both flute and piccolo excerpts) Mozart: Concerto in G, first movement exposition Haydn: Symphony No. 100 in G, “Military” Mvt. I—all Beethoven: Symphony No. 7 in A Mvt. I, meas. 41 to D (meas. 134) Strauss: Death and Transfiguration Letter C to Allegro molto agitato; meno mosso after L to T Piccolo Tchaikovsky: Symphony No. 4, mvt. III (all oboists are asked to prepare both oboe and English horn excerpts) Mozart: Concerto in C, first movement exposition Beethoven: Symphony No. 7 in A Mvt. I, beginning to m. 34; Letter I to K Strauss: Death and Transfiguration Letter B to C; Allegro molto agitato to letter O English Horn Strauss: Death and Transfiguration Letter D to Allegro molto agitato; N to T Mozart: Concerto in A, first movement exposition, or last movement Beethoven: Symphony No. 7 in A Mvt. I, Vivace through Exposition Mvt. II, D to F Strauss: Death and Transfiguration Letter E to H; N to T Bass Clarinet Strauss: Death and Transfiguration Appassionato after O to 5th of T Mozart: Concerto in B-flat, any movement Beethoven: Symphony No. 7 in A Mvt. I, Vivace through Exposition Strauss: Death and Transfiguration Allegro molto agitato to F; N to 5th of T Saxophone Rachmaninoff: Symphonic Dances, reh. 10 to 14

Brass Instruments:

Horn Mozart: Concerto No. 2, or Strauss: Concerto No. 1, OR Strauss: Concerto No. 2, first page Beethoven: Symphony No. 7 Mvt. I, Vivace to m. 111 Mvt. III, Trio (Horn 2) Strauss: Death and Transfiguration Letter H to 7th of L; N to T Haydn: Concerto in E-flat, first and second movement exposition, OR Hummel: Concerto in E, last movement (in E or E-flat) Strauss: Death and Transfiguration Letter K to 6th of L; Allegro molto agitato after W to end Respighi: Pines of Rome, off-stage solo Trombone Standard repertoire concerto Strauss: Death and Transfiguration, complete Bass Trombone Bach: Sarabande from Suite No. 5 for Cello (without repeats) Strauss: Death and Transfiguration, complete Euphonium Mussorgsky/Ravel: Pictures at an Exhibition Tuba Vaughan Williams: Concerto for Bass Tuba, 1st mvt exposition and cadenza Strauss: Death and Transfiguration, complete

Percussion Instruments:

Timpani Beethoven: Symphony No. 7 in A Mvts. I and IV Strauss: Death and Transfiguration Beginning to A; F to H; N to O Snare Drum Bartok: Concerto for Orchestra Rimsky-Korsakov: Scheherazade Mvt III, F to K; Mvt IV, P to R Mallets Kabalevsky: Colas Breugnon