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Co-Principal Timpani with Tutti Percussion Duty Orchestral Excerpts

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Co-Principal Timpani with Tutti Percussion Duty Orchestral Excerpts Oslo Filharmonien −+ Co-principal Timpani with tutti percussion duty Orchestral excerpts CONTENTS: PAGE General information 3 Timpani 4 - 18 1 Viken Etude 4 2 Hindemith Symphonic Metamorphosis 7 3 Carter Variations for Orchestra 8 4 Elgar Enigma Variations 9 5 Shostakovich Symphony no. 11 10 6 Bartok Music for string instruments, percussion and celesta 11 7 Bartok Violin concerto no. 2 12 8 Martin Concerto for 7 winds, timpani, percussion and strings 13 9 Brahms Symphony no. 2 14 10 Wagner Götterdämmerung, Sigfried’s Funeral march 15 11 Strauss Rosenkavalier Suite 16 12 Lindberg Seht die Sonne 17 13 Mahler Symphony no. 4 18 14 Mahler Symphony no. 5 18 Percussion 19 - 44 15 Berg Ekstrakt 2 20 16 Shostakovich The Bolt 22 17 Nordheim Tenebrae 25 18 Hegdal Fables of the Late Early Bird 26 19 Dukas L’ Apprenti Sorcier 28 20 Borodin Polovetsian Dances 31 21 Dvorak Carnival Overture 33 22 Mahler Symphony no. 3 34 23 Strauss Ein Heldenleben 34 24 Saint-Saëns Sampson et Dalila 35 25 Tsjaikovskij Sleeping Beauty Suite 36 26 Brahms Symphony no. 4 37 27 Grieg Vom Monte Pincio 38 28 Dvorak Carnival Ouverture 39 29 Halvorsen Entry march of the boyars 41 30 Williams Harry Potter, The Knight Bus 42 Solo work 44 Sommerfeldt Music for one percussion player 44 All movements GENERAL INFORMATION This PDF file contains all audition requirements for this audition. If an excerpt is not marked with brackets, you are expected to prepare the whole part. The first round of the audition is a video recording to be uploaded as part of your application. Candidates who qualify for the live audition in Oslo must be prepared to perform everything contained in this file, including the repertoire from the video audition. RECORDING INSTRUCTIONS Your video audition is one timpani part and one percussion part. Both parts have to be recorded in one, continous, unedited take. However, we do not require the timpani and percussion parts to be recorded at the same date or location. The works must be recorded in the exact order specified below. VIDEO AUDITION REPERTOIRE: Part 1: Timpani Excerpt # Composer Work 1 Viken Etude 3 Carter Variations for Orchestra 4 Elgar Enigma Variations 5 Shostakovich Symphony no. 11 6 Bartok Music for string instruments, percussion and celesta 7 Bartok Violin concerto no. 2 8 Martin Concerto for 7 winds, timpani, percussion and strings 9 Brahms Symphony no. 2 Part 2: Percussion Excerpt # Composer Work 15 Berg Ekstrakt 2 Solo work Sommerfeldt Music for one percussion player, 3rd mvt. 19 Dukas L’ Apprenti Sorcier 21 Dvorak Carnival Overture Timpani excerptsEtude OFO 26/4 2020 1: Viken Etude Haydn The Creation Beethoven Symph. no. 5, 4th mvt. Largo alla breve A Allegro Timpani 5 10 15 20 25 B 30 Beethoven Symph. no. 7, 1st mvt. 37 C [Vivace] sempre 4 2 Etude OFO 26/4 2020 43 Haydn The Creation Beethoven Symph. no. 5, 4th mvt. cresc. Largo alla breve A Allegro 49 Timpani 5 54 10 59 Beethoven Symph. no. 7, 1st mvt. 15 65 20 70 D 75 25 Sibelius Symph. no. 7 B rit. E 30 82 [Adagio] poco marcato Beethoven Symph. no. 7, 1st mvt. 88 37 C [Vivace] sempre 5 3 Sibelius Symph. no. 7 92 marcato 94 F stringendo Tchaikovsky Symph. no. 4, 1st mvt. 99 G Allegro con anima cresc. 102 105 108 111 114 dim. 119 6 2: Hindemith Symphonic Metamorphosis, 2. mvt. This excerpt will be played with piano accompaniment [ ] 7 3: Carter Variations for orchestra [ ] 8 4: Elgar Enigma Variations 9 5: Shostakovich Symphony no. 11, 1. mvt. [ ] [ ] 10 6: Bartók Music for string instruments, percussion and celesta 2. mvt. [ ] 11 4. mvt. [ ] 7: Bartók Violin concerto no. 2, 2. mvt. [ ] 12 8: Martin Concerto for 7 winds, timpani, percussion and strings. 3. mvt. [ ] 13 9: Brahms Symphony no. 2, 4. mvt. [ ] [ ] 14 10: Wagner Götterdämmerung, Sigfried’s funeral march 15 11: Strauss Rosenkavalier Suite [ ] 16 12: Lindberg Seht die Sonne [ ] 17 13: Mahler Symphony no. 4, 3. mvt. [ ] 14: Mahler Symphony no. 5, 1. mvt. [ ] 18 Percussion excerpts 19 15: Berg Ekstrakt 2 snare drum 20 21 16: Shostakovich The Bolt xylophone This excerpt will be played with piano accompaniment 22 16: Shostakovich The Bolt xylophone This excerpt will be played with piano accompaniment 23 24 2 17: NordheimMarimba Tenebrae vibraphone 120 >œ œ œ#œnœ#œ > > œ#œ #œnœ#œnœ #œ ≈ #œnœ œ ‰ & #œnœ#œ œ œ œ#œ œ#œ mf [ #œnœ#œ >œ > 124 > œ œ œ #œ nœ #œ œ ‰ œ #œ #œ nœ #œ nœ 3 & œ œ nœ nœ #œ nœ nœ œ 4 #>œ 127 128 3 7 2 3 2 &4 œ 8 ∑ 4 ∑ 4 ∑ 4 >#œ#œnœ f > œ œ œ#œ 3 œ #œ #œ œ 7 #œ#œ > œ œ 2 3 2 {? 4 #œ œ œ œ 8 œ œ ‰ 4 ∑ 4 ∑ 4 3 mp 3 131 135 3 3 4 3 j j 3 2 7 ‰ ‰ ‰ ‰ 2 j‰ 3nœ œ ‰ ‰ 2 ≈ 3 & 4 8 œ#œ j œœ j j 4 #œ#œ 4 #œ œ nnœ #œ 4 j™ 4 mp œ œ #œ œ # œ œ œ#œ # œ mf 139 3 > > 2 3 œ 2 ] & 4#œnœ œ#œ œnœ#œ#œnœ œ #œ 4 Œ 4 Œ œ#œ œ œ 4 > > > >œ ##˙ œ nœ#œ > #œ m>p m>p mf rit. 143 q=112 2 3#œ œ j 4 & 4 Œ ∑ ∑ 4 œ œ #œ œ ‰ 4 #œ 3 . œ m-p f mf . Amoré DISCOVERING LATE for work! The king of Tango Nuevo 147 147 accel. 153 q== 14625 3 5 3 j 3 4 ∑ 7 ‰ 2 j‰ 3nœ œ ‰ j‰ j‰ 2 & 4 8#œ œ j j 4 #œ#œ 4 #œ œ nnœ #œ 4 ] [ f œ œ ##œ mœp mf # œ 156 2 3#>œ nœ > 2 3 & 4 j™ ≈ 4 œ #œ œ nœ #œ #œ nœ œ œ #œ 4 ™ ‰ 4 œ #œ > > > > ##˙ œ f> 25 2 Marimba 120 > œ œ œ#œnœ > > #œ œ#œ #œnœ ≈ nœ œ ‰ & #œnœ#œnœ#œ œ œ œ#œ#œ œ#œ#œ mf #œnœ#œ >œ > 124 > œ œ œ #œ nœ #œ œ ‰ œ #œ #œ nœ #œ nœ 3 & œ œ nœ nœ #œ nœ nœ œ 4 #>œ 127 128 3 7 2 3 2 &4 œ 8 ∑ 4 ∑ 4 ∑ 4 >#œ#œnœ f > œ œ œ#œ 3 œ #œ #œ œ 7 #œ#œ > œ œ 2 3 2 {? 4 #œ œ œ œ 8 œ œ ‰ 4 ∑ 4 ∑ 4 3 mp 3 131 135 3 4 3 3 j 3 2 7 ‰ ‰ ‰ ‰ 2 j‰ 3nœ œ œ ‰ j‰ 2 ≈ 3 & 4 8 œ#œ j œœ j j 4 #œ#œ 4 œ#œ œ nnœ #œ 4 j™ 4 mp œ œ #œ œ # œ œ œ#œ # œ mf 139 3 > > 2 3 œ 2 & 4#œnœ œ#œ œnœ#œ#œnœ œ #œ 4 Œ 4 Œ œ#œ œ œ 4 > > > >œ ##˙ œ nœ#œ > #œ m>p m>p mf rit. 143 q=112 2 3#œ œ j 4 & 4 Œ ∑ 18: Hegdal∑ Fables4 ofœ theœ #Lateœ œ Early‰ 4Bird #œ 3 . œ m-p marimba f mf . Amoré DISCOVERING LATE for work! The king of Tango Nuevo 2 Marimba 147 147 accel. 153 q==105125 5 3 3 3 120 > j j j 4 ∑ 7 œ œ œ ‰ 2 ‰ 3nœ œ œ ‰ ‰ j‰ 2 & 4 8#œ œ j#œnœj#œ 4œ#œ#œ>#œ 4 #œ œ nnœ #œ 4 > œ f œ œ mœp #œmnfœ#œnœ # œ #œ ≈ #œnœ ‰ & ##œ #œnœ#œ œ œ œ#œ œ#œ [ mf #œnœ#œ >œ > 156 2 3 > > 124 2 > 3 & 4 j™ ≈ 4#œ nœ œ #œ œ nœ #œ œ #œ 4 œ œ œ ™ ‰ 4 œ > #œ nœ œ #˙ #œ nœœ #œ œ #œ #œ nœ 3 œ #œ & > nœ>nœ œ> ‰ # ˙ œ #œ nœ #œ nœ nœ 4 œ œ f> œ #>œ 127 128 3 7 ∑ 2 ∑ 3 ∑ 2 &4 œ 8 4 4 4 >#œ#œnœ f > œ œ œ#œ 3 œ #œ #œ œ 7 #œ#œ > œ œ 2 3 2 {? 4 #œ œ œ œ 8 œ œ ‰ 4 ∑ 4 ∑ 4 3 mp 3 131 135 3 4 3 3 j 3 2 7 ‰ ‰ ‰ ‰ 2 j‰ 3nœ œ œ ‰ j‰ 2 ≈ 3 & 4 8 œ#œ j œœ j j 4 #œ#œ 4 œ#œ œ nnœ #œ 4 j™ 4 mp œ œ #œ œ # œ œ œ#œ # œ mf 139 > 3#œnœ >œ 2 3 œ œ 2 & 4 #œ œnœ#œ#œnœ œ œ#œ 4 Œ 4 Œ œ#œ œ 4 > > > > ##˙ œ nœ#œ > #œ m>p m>p mf rit. 143 q=112 2 3#œ œ j 4 & Œ ∑ ∑ œ œ œ ‰ 4#œ 4 . #œ. 4 - ] f 3 mf œ mp . Amoré DISCOVERING LATE for work! The king of Tango Nuevo 147 147 accel. 153 q=125 5 3 3 3 4 7 2 j 3nœ j j 2 & 4 ∑ 8 j j‰ 4 #œ ‰ 4 œ#œ œ ‰ nœ ‰ j‰ 4 #œ œ œ œ œ#œ œ œ n œ ##œ f ##œ mp mf 156 > 2 ≈ 3#œ nœ >œ 26 2 ‰ 3 & 4 j™ 4 #œ œ nœ #œ #œ nœ œ œ #œ 4 ™ 4 œ #œ > > > > ##˙ œ f> 2 Marimba 120 > œ œ œ#œnœ#œ > > œ#œ #œnœ ≈ nœ œ ‰ & #œnœ#œnœ#œ œ œ œ#œ#œ œ#œ#œ mf #œnœ#œ >œ > 124 > œ œ œ #œ nœ #œ œ ‰ œ #œ #œ nœ #œ nœ 3 & œ œ nœ nœ #œ nœ nœ œ 4 #>œ 127 128 3 7 ∑ 2 ∑ 3 ∑ 2 &4 œ 8 4 4 4 >#œ#œnœ f > œ œ œ#œ 3 œ #œ #œ œ 7 #œ#œ > œ œ 2 3 2 {? 4 #œ œ œ œ 8 œ œ ‰ 4 ∑ 4 ∑ 4 3 mp 3 131 135 3 4 3 3 j 3 2 7 ‰ ‰ ‰ ‰ 2 j‰ 3nœ œ œ ‰ j‰ 2 ≈ 3 & 4 8 œ#œ j œœ j j 4 #œ#œ 4 œ#œ œ nnœ #œ 4 j™ 4 mp œ œ #œ œ # œ œ œ#œ # œ mf 139 3 > > 2 3 œ 2 & 4#œnœ œ#œ œnœ#œ#œnœ œ #œ 4 Œ 4 Œ œ#œ œ œ 4 > > > >œ ##˙ œ nœ#œ > #œ 4 Marimba m>p m>p mf rit.
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