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What concerto did you play for a succesful audition?
I'm curious to see what pieces you performed that won a position in an orchestra or got you acceptance at the university / conservatory level. I often wonder if there's a piece that judges tend to favor or a certain piece that people can really nail but still don't get in. This is assuming that whatever piece you auditioned with you could play proficiently (you know, no "I played the Tchaik but didn't get in" when maybe you should have played Mozart 3).
Thanks all!
Laura Russ
Replies (19)
Tchaikovsky concerto worked for me 100% of the time. I also think that concerti such as Scottish Fantasy or Dvorak would work well, as many people are not choosing those pieces...
I don't audition much, but I've had a successful audition with the Mendelssohn I'm working on now (which I know is not at very good quality either). In comparison, a friend of mine played the Bruch concerto almost certainly better than I played my concerto and didn't do quite as well. I don't know what to think of that actually...
This is a great discussion.
When I auditioned successfully for the White House Orchestra (U.S. Marine Band) 15 years ago, I played Bruch g minor. While it depends slightly on the level of the group for which one is auditioning, there is one universal truth: Make sure you choose something YOU play extremely well. As long as it is part of the standard repertoire, you can always be a contender.
Additionally, I have sat on several audition committees and here is my assessment: It is very risky to play Bach unaccompanied Sonatas/Partitas. While they are acceptable within audition repertoire, I believe they are simply TOO SUBJECTIVE among audition panelists. One can play them quite well and be eliminated simply because a panal member disagreed strongly with the interpretation.
As was alluded to in a previous message, Mozart is great audition material, but ONLY if played flawlessly. Unfortunately, Mozart is very unforgiving--with many traps, most of them regarding intonation. Mozart is particularly hard to pull off for those in their first auditions. I recommend against it until a person has taken several auditions. (Some places require a Romantic Concerto AND a Mozart Concerto, however.)
You really can't go wrong with Tchaikovsky or Brahms, but they are difficult pieces to maintain. This is necessary to consider for those who may be in school or have a "transitional" job while taking the occasional audition.
I like the Bruch g minor because it shows great range in a short period of time, it has a wonderful opening that is unaccompanied anyway, so it doesn't sound like something is missing, and it is a very accessable Concerto from all perspectives. Here again, if one person plays Tchaikovsky well, but another nails the Bruch and with impressive musicianship, the Bruch wins (in my book, anyway).
Also, getting back to interpretation, panels are far more receptive to personal nuance given to the Romantic Concerto repertoire and, in fact, often are excited when they hear a common work played differently--if it makes good musical sense. Bach and Mozart are harder to sell in this regard because many violinists have strong opinions regarding these works.
It is certainly not necessary or advisable to play a lesser known or lesser played concerto simply to be different. In fact, it often helps a strong player to stand out if there are others playing "their" concerto pick, but not as creatively or accurately. That said, we had a guy win an audition playing Bartok!
Hope this helps! Don't forget about those excerpts!
-Peter
Thanks for all your input - it's interesting to hear about each individuals' experience. I am in complete agreement about the Mozart and I hope my first post didn't make it sound like I hold the belief that Mozart is a piece of cake (just was fishing around for an example and those two pieces came to mind). I think that because you're not so busy scrambling around the fingerboard you really have to nail each note. And I think that Mozart definitely requires a certain level of musical maturity in order to do it justice. I've spent more time on 4 notes of Mozart than some of the more technically difficult passages in other works. Please keep the responses coming - I really enjoy hearing about audition experiences.
Laura
I had ok success playing the Mendelssohn Concerto. It is a very common choice, but frankly, it's often played badly, so a decent performance stands out. A good rule of thumb might be, try to play something that you play more convincingly than average. Whether or not you're above average for a given school, you should be able to find a piece that suits you particularly well.
However, I would not choose it again for auditions, probably ever. I have some stage fright and shaking issues, and Mendelssohn is a really bad piece to try to play while shaking-- all those big leaps, and the hands have to be really well coordinated.
Greetings,
>all those big leaps, and the hands have to be really well coordinated.
Maybe your hands would be better coordinated if you didn`t leap in the air....
Cheers,
Buri
Or off the stage, as I did after a particularly -shaky- audition...
Audition literature should vary as to level. Too often, (being a college teacher) we have people trying to audition on literature too advanced for them and not doing it very well. At the undergrad level unless you are up to it, it is best to avoid Mendelssohn conerto if you can do Bruch better. It is best to do what you do best. If you are an outstanding student then by all means play Tchaikovsky conerto, if you have the whole first movement for memory.
For grad students an effective concerto is normally Sibelius and g minor solo Bach and some sort of virtuoso piece. The a minor Bach fugue is a bit longer and if you are doing a number of different auditions can be more stressful, since different institutions will ask, for instance for a contemporary piece or a classical work in addition. Some ask for a complete concerto.
To recap, make sure you can play music that you can play extremely well and make sure you know your audition literature at least 6 months in advance. That way you will make your best impression.
Whatever you chose, make sure you play solidly and at your level. The rest is commentary!
I played Khachaturian concerto for the Syd Con audition - got me into bachelor of performance (4 years), thank the Lord for Wilkomirska's great tutelage on how to play it well
At my last audition for the Civic Orchestra of Chicago, training school of the Chicago Symphony, I used my own improvisations — stuff I’d put together some time earlier. These improvisations were inspired largely by études I’d done in the past — Mazas, Kreutzer, and others of their ilk. I didn’t want to trot out the same old war-horses that so many of the other applicants were offering — Mozart, Mendelssohn, Bruch, etc.
It worked. Playing for others — even in auditions — doesn’t faze me. Just give me enough heat and humidity for reliable hand traction, and I’ll be fine. Such was the case here.
The jury — CSO co-concertmaster Victor Aitay, principal Joe Golan, and one member of the administration (I don’t remember any more than these three) — evidently liked the audition, too.
Ironically, we were only a few weeks into the season when I knew that my appetite for orchestra playing had died — beyond any hope of revival. The activity was cramping my style and cutting too much into my time. I severed the connection.
Born individualist and free spirit that I am, I’m grateful I made this decision at age 21 instead of later in life. From that day to this, I have done no further orchestra playing. I have no regrets.
I auditioned for a local orchestra with the mendelssohn when I was 16 and I got in, but I too realized after one year that orchestras dont suit me.
In less than a month I am auditioning for curtis with both the entire sibelius concerto and mozart 5 (turkish). Being a jazz violinist Mozart is hell for me, so I hope it goes well.
I agree with the idea of picking a piece you are strong at. Also, you should play a piece you feel passionate about! I've done a couple competitions/auditions with Bruch and Mendelssohn. I find that on stage, I'm going to make at least a few technical mistakes no matter what, so I like to have music that I really love, and can put my soul into, you know? Also, solo passages like cadenzas are nice for auditions since there's a lot of freedom to show both brilliance/technicality and your unique musical voice. I love the Mendelssohn cadenza! Its just perfect for this kind of thing.
If you're a nervous sort, the opening of Bruch's concerto has a few nice lonnnng notes with which to show your staccato ability. :)
If you can do Tchaikowsky, that's my choice.
Hi,
I don't remember what I played for undergrad/grad auditions, but my advice is choosing a program that reflects where one is at and can handle well. For teachers listening, they are more interested in where you are at and where you have the potential to go than anything else.
Orchestra auditions, at least for big orchestras are pretty standard. You have to play the first movement (or 1st and 2nd) of Mozart #4 or #5. Then either the first movement, first and second, or whole romantic concerto. For this, a big one is good: Sibelius, Tchaik, Brahms, or exceptionally maybe one of the Prokofievs or Bartok. Stay clear of Beethoven - too much opinions/emotions on this one.
Cheers!
Christian, why would playing Prokofiev be an exceptional case?
Hi,
It depends. People tend to go for the big things. In some European auditions (and others to) there is an accompanist on stage that plays with you with no rehearsal. The big one are easier to put together than the Prokofievs, which I chose purely for example's sake.
Cheers!
My orchestra is having concertmaster auditions in April. (https://www.afm.org/member/auditions/audinq20.php3 - I think you have to be an AFM member to view this)
They are asking for:
>A complete Mozart concerto (with cadenzas)
>1st movement of a Romantic concerto (it says "Tchaikovsky, Brahms, Beethoven or Mendelssohn preferred")
>One movement of a Bach Unaccompanied S or P
Plus the usual solos (Heldenleben, Scheherazade, a few others) and excerpts (Midsummer Night's Dream, Mozart #39, Schumann 2, Don Juan, etc. etc. etc.)
I don't know if the list of solo rep is "typical" or not, but just thought people might be interested in what is actually on the list for an upcoming "real" audition.
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January 30, 2006 at 12:28 AM · I usually play a Mozart concerto, some bach sonata movements, and a fast technical showy piece for my auditions. But if you only get to play one piece, i recommend that you pick a mozart concerto (only if you can really play Mozart in a syalistic way.... theres nothing worse than bad mozart)... i think judges like mozart because they dont hear it as often because students are craving contemporary works.