Audition Information

As a general rule we like to hear at least two selections from the first and second categories:

1. Late Renaissance/Early Baroque
   • Italy: solo songs, arias, and/or recitative with continuo by composers such as Giulio Caccini, Francesco Cavalli, Claudio Monteverdi
   • Germany: solos, duos, trios, etc. with continuo by composers such as Heinrich Schütz and Michael Praetorius
   • England: songs with continuo by William Byrd or John Dowland
2. Baroque
   • Italy: a selection by Giovanni Bononcini, Niccolò Porpora, or Alessandro Scarlatti
   • Germany: a recitative and aria by J.S. Bach; a recitative and an aria by Handel; a recitative and aria by Johann Adoph Hasse
   • France: a recitative and aria/air by Lully, Marais, Rameau, etc.
   • England: a selection by Henry Purcell
3. Classical
   • A recitative and aria by Mozart, Gluck, or a similar composer

Languages

We often sing in all five major European languages (French, German, Italian, Latin, and Spanish). Selections in at least the first four are strongly suggested. 

Historical Diction

Pieces sung in Latin are often sung using their historical pronunciations (French pronunciation, German pronunciation, etc.). While not required for submission materials, knowledge of IPA and flexibility with pronunciation are strongly encouraged.  

As a general rule we like to hear a selection from the first and at least two from the second category. Applicants who can play both baroque violin and viola are encouraged to submit materials for both instruments. Access to and understanding of the transitional bow is encouraged.

1. Late Renaissance/Early Baroque
   • A sonata by Dario Castello
2. Baroque
   • Italy: a fast and slow movement from a Corelli sonata
   • Germany: a fast and slow movement from a solo sonata by J.S. Bach
   • France: A sonata by Jacquet de la Guerre, Monteclair, or Leclair
   • Violins only: two movements from Vivaldi’s Four Seasons
3. Classical
   • A sonata by Mozart or Haydn
4. A complete Baroque sonata of your choice
5. A complete Baroque concerto of your choice 

As a general rule, we like to hear one selection from each category. Applicants who can also play viola da gamba are encouraged to submit materials for both instruments. Access to and understanding of the transitional bow is encouraged.

1. A prelude and one dance movement from one of the suites for cello by J.S. Bach
2. One unaccompanied work by Gabrielli, Scipriani, or Galli
3. Two contrasting movements of a sonata by Barrière
4. One movement of a cello concerto by Haydn, Boccherini, or CPE Bach

As a general rule we like to hear at least one  selection from each category. Applicants who can also play Baroque ‘Cello are encouraged to also submit materials for both instruments

1. Late Renaissance/Early Baroque
   • A selection by Tobias Hume, such as Captaine Hume’s Pavan (No. 46), or Death (No. 12) and Life (No. 13), or something similar from The First Part of Ayres, 1605 (or something similar).
2. Baroque
   • A fast and slow movement from a sonata for viola da gamba and harpsichord by J.S. Bach
   • Contrasting movements from a sonata by Marin Marais or Antoine Forqueray

As a general rule we like to hear a selection from the first and at least two from the second category. Applicants who can both baroque bass and violone are encouraged to also submit materials for both instruments. Access to and understanding of the transitional bow is encouraged.

1. Two contrasting movements of a concerto for double bass/Viennese bass by Sperger, Cimador, Vanhal, Hofmeister, Pichl or Dittersdorf.
2. A complete accompanied (transcribed) Baroque sonata, e.g. by J. S. Bach, Handel, Gabrielli, Corelli, Marcello, Abel, Telemann, Boismortier, etc.
3. An unaccompanied solo work from the 16th or 17th century, (e.g. from the canzona/viola bastarda repertoire for the G-Violone: Bonizzi, Rognoni, Selma y Salaverde, etc.) or two movements of a transcribed solo cello suite by J. S. Bach or two contrasting waltzes by Dragonetti.
4. At least two of the following orchestral excerpts:
   • “The people that walked in darkness” (from the beginning to rehearsal B), from Messiah by G.F. Handel
   • Overture to Orchestral Suite No. 2, BWV 1067, by J.S. Bach (up to measure 70)
   • Bass solos from Symphony No. 6 (“Le Matin”) by F.J. Haydn.

Applicants who can also play historical oboes are encouraged to submit materials for both instruments.

1. One recorder sonata by Handel, Telemann, or similar
2. One selection from a larger orchestral work by Lully or Charpentier
3. Two other contrasting selections of your choice

1. A complete sonata by J.S. Bach, chosen from BWV 1013, 1030, 1032, 1034, or 1035.
2. Four contrasting movements from a suite by Hotteterre or from a Concert Royal by Couperin.
3. The obbligato flute part from two contrasting arias by J.S. Bach, chosen from the Passions, the B-minor Mass, and/or the cantatas.
4. A sonata or concerto by Mozart or Haydn

Applicants who can also play recorder are encouraged to submit materials for both instruments.

1. A complete baroque sonata in the Italian style.
2. Four dance movements in the French style.
3. Two contrasting arias with obbligato oboe by J.S. Bach.
4. A sonata or concerto by Mozart or Haydn

Applicants who also play Chalumeau are encouraged to submit materials for that instrument.

1. Four contrasting selections written before 1920 

Applicants who can play both baroque bassoon and dulcian are encouraged to submit materials for both instruments. 

1. A complete solo concerto by Antonio Vivaldi.
2. Two complete solo sonatas or suites by e.g. Boismortier, Corrette, Fasch, Galliard, Merci, Telemann.  (Applicants are encouraged to explore music by composers from underrepresented communities.)
3. Two complete Fantasias for solo flute by Telemann (transposed up a minor third, read in bass clef) TWV 40:2-13.
4. The following orchestral excerpts:
   • Overture and Bourrées from Orchestral Suite No. 1, BWV 1066, by J.S. Bach
   • Sinfonia to Cantata 249a by J.S. Bach
   • Overture to G.F. Handel’s “Water Music” Suite in F Major, HWV 348.
5. Dulcian: selections from pieces before 1680

Applicants are encouraged to submit materials for all instruments they can play and have access to.

1. Three contrasting pieces on one of the following instruments, by one of the following composers:

• • Theorbo:  Piccinini, Kapsberger, Castaldi, Hurel, or de Visée.
  • Baroque Lute: Gaultier, Gallot, Losy, DuFault, or Weiss
  • Baroque Guitar: Corbetta, Robert de Visée, or Santiago de Murcia.
  • Archlute: Piccinini or Zamboni.
  • Renaissance Lute: Dowland, Bacheler, Galilei, Vallet, or Anthoine Francisque.
  • 19th-century (Biedermeier) guitar:  Sor, Giuliani, Mertz, Coste, Porro, or others in consultation with faculty.

1.  J.S. Bach

• Brandenburg Concerto # 1 (both horn parts)
• • mvt. 1 bars 1-18
  • Minuet-Trio for horns and oboes
• Mass in B minor
  • Quoniam tu solus sanctus (introduction only)

2.  G.F. Handel

• Water Music (both horn parts)
  • #7 Minuet in F, bar 1-16
  • #15 Bouree in D

3.  F. J. Haydn

• Symphony #7

  • Minuet & trio (both horn parts, without repeats)

4.  W. A. Mozart

• Horn quintet in E-flat Major, K. 407
  • mvt. 1 – bar 33-56
  • mvt. 2 – bars 19-40

5.  J.F. Gallay

• An unmeasured prelude of the applicant’s choice

Applicants who can play baroque trumpet, keyed trumpet, and/or cornetto are encouraged to submit materials for all instruments they can play and have access to.

1. Two etudes demonstrating the applicant’s level of technical and musical advancement.
2. G. Reiche: Abblasen
3. At least one major solo of the applicant’s choice.
4. Choice of one of the following:
   • Arcangelo Corelli: Sonata in D
   • HIF Biber: any solo sonata
   • Henry Purcell: Sonata in D
   • G. Torelli: any solo sonata
5. Choice of one of the following:
   • J.F. Facsh: Concert in D
   • F.J. Haydn: Concerto in Eb (Keyed Trumpet), Pitch A = 430 Hz
   • J.N. Hummel: Concerto in E (Keyed Trumpet), Pitch A = 430 Hz
   • L. Mozart: Concerto in D
   • G.P. Telemann: Concert in D
6. Three to five standard orchestral excerpts from the following:
   • J.S. Bach: BWV 5, 20, 31, 43, 51, 70, 90, 147, 172, 191, 232, 248, 249, 1047, 1068, 1069
   • G.F. Handel: Eternal source of Light Divine from Birthday Ode for Queen Anne; The trumpet shall sound from Messiah; Let the bright seraphim from Samson; Water Music, Fireworks Music
   • J.P. Rameau: Chaconne from Les Sauvages
   • A. Vivaldi: Gloria in D
7. Cornetto: Four contrasting selections demonstrating technical and artistic abilities

1. Tenor Trombone
   1. Prepare two contrasting movements of solo repertoire written before 1920
   2. All the following excerpts
      • Mozart: Requiem (Tuba Mirum)
      • Berlioz: Hungarian March
      • Saint-Saëns: Symphony No. 3
      • Mahler: Symphony No. 3 (1st mvt.)
      • Wagner: Ride of the Valkyries
      • Schumann: Symphony No. 3
      • Strauss: Ein Heldenleben
      • Rossini: William Tell Overture

• Bass Trombone

1. 1. Prepare two contrasting movements of solo repertoire written before 1920
   2. All the following excerpts
      • Berlioz: Hungarian March
      • Haydn: Creation
      • Wagner: Ride of the Valkyries
      • Schumann: Symphony No. 3
      • Strauss: Ein Heldenleben
      • Rossini: William Tell Overture

Applicants who can also play serpent are encouraged to submit materials for that instrument. 

1. Four contrasting selections of music written before 1920.

At least four selections from past orchestral performances recorded no longer than 3 years ago. 

You must demonstrate that you own or have access to the instrument(s) in your submitted recordings.