Oboe Audition Repertoire and Orchestral Excerpts Master of Music (Orchestral Performance)

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oboe audition repertoire and orchestral excerpts Master of Music (Orchestral Performance) Audition work Mozart: Oboe Concerto in C major, K. 314, first movement with cadenza Composer Work Page bartok Concerto for Orchestra Excerpt 1 3 brahms Variations on a theme of Haydn Excerpt 1 4 dvořák Cello Concerto Excerpt 1 5 dvořák Symphony no. 7 Excerpt 1 5 mussorgsky/ravel Pictures at an Exhibition Excerpt 1 6 ravel Daphnis and Chloé Excerpt 1 7 Excerpt 2 8 Excerpt 3 9 rossini La Scala di Seta: Overture Excerpt 1 10 smetana The Bartered Bride: Overture Excerpt 1 11 tchaikovsky Romeo and Juliet: Fantasy Overture Excerpt 1 12 Cor anglais excerpts*: dvořák Symphony no. 9 Excerpt 1 13 ravel Piano Concerto in G major Excerpt 1 14 rossini William Tell: Overture Excerpt 1 15 * Cor anglais excerpts are not compulsory. However, candidates may opt to strengthen their application by performing all of the excerpts associated with a secondary instrument. Page intentionally blank 2 bartók Concerto for Orchestra Second Movement (Presentando le coppie) excerpt 1 AlleGretto scherzando (q = 74) 3 brahms Variations on a Theme by Haydn, op. 56a Theme excerpt 1 Andante ( q = 56) 4 dvořák Cello Concerto in B minor, op. 104 Second movement excerpt 1 AdaGio ma non troppo (e = 108) dvořák Symphony no. 7 in D minor, op. 70 Oboe 2 Second movement excerpt 1 Poco adaGio (q = 52) 5 mussorgsky/ravel Pictures at an Exhibition Oboe 2 V. Ballet des Poussins dans leurs Coques excerpt 1 Scherzino, vivo leGGiero (h = 92) ☞ ] 6 ravel Daphnis and Chloé Oboe 2 excerpt 1: q = 200 ☞ [ 7 excerpt 2: q = 160 ☞ 8 excerpt 3: h = 144 ☞ ] ☞ ] 9 rossini La Scala di Seta: Overture excerpt 1 AlleGro vivace h = 138 [ ] [ ] 10 smetana The Bartered Bride: Overture excerpt 1 h = 152 [ ] [ ] [ ] [ ] 11 tchaikovsky Romeo and Juliet Fantasy Overture excerpt 1 h = 60 12 dvořák Symphony no. 9 in E minor, op. 95 Cor anGlais Second movement excerpt 1 LarGo (e = 80) 13 ravel Piano Concerto in G major Cor anGlais Second movement excerpt 1 e = 76 [ [ 14 rossini William Tell: Overture Cor anGlais excerpt 1 Andante (e = 60) end of orchestral excerpts 15 .

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2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No.
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A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No.
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Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
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