High School Solo Competition

Eligibility

Students entering this competition must be currently enrolled in high school (grades 9–12) or in a home-schooling program and younger than 19 years old on March 3, 2012. Competing students must not have performed professionally under full-time contract, or have been previously offered such employment by virtue of winning a full-time professional audition.

Rules

All entrants will perform one selection from the indicated repertoire. Each entrant must be accompanied by a pianist. (Specify on the registration form whether you will use bring you own accompanist or need one provided.) There is no additional charge for using a workshop pianist, but students should plan on rehearsing with the pianist the day before the competition (the afternoon or evening of Friday, March 2). Students are also welcome to bring their own pianists; practice rooms will be available during the workshop.

Approximate times of performance will be communicated either by phone or e-mail to entrants in late February. Entrants should be at the audition venue warmed up and ready to play about 10 minutes in advance of their scheduled times.

The judges reserve the right not to choose a winner, should the quality of performances merit. The winner of the competition will be offered the opportunity to perform at the Final Concert on Sunday, March 4.

Students may sit or stand to perform. Students are not required to perform from memory. However, students using music must perform from legal printed copies: no photocopies or scanned copies of music are permitted. Students need not supply judges with score copies.

Parents or guardians may sit in the room during their student’s performance, but should not stay for the performances of other students. The general public will not be invited to observe this competition.

Prepare one solo from the following list. Please also note the cuts indicated in the piano passages, if indicated, in the interests of scheduling.

Repertoire

Ludwig van Beethoven, Sonata in F Major, Op. 17, mvt. 1.

Bernard Heiden, Sonata, mvt. 1.

Paul Hindemith, Sonata (1939), mvt. 1.

Richard Strauss, Concerto No. 1 in E-flat Major, Op. 11, mvt. 1.

(After the opening fanfare, the pianist will begin nine measures before the measure of the next solo entrance. All other tutti sections as printed. The tutti at the end of the movement after the solo has ended should be abbreviated.)

College Solo Competition

Eligibility

Students entering this competition must be enrolled at a college or university as an undergraduate student. Competing students must not have performed professionally under full-time contract, or have been previously offered such employment by virtue of winning a full-time professional audition.

Rules

The first round of the competition requires unaccompanied repertoire; a workshop accompanist will be assigned for those performing in the final solo round. Rehearsal times with a pianist for the final round will be assigned after the first round has ended.

The first round audition slots will be assigned via e-mail or phone in late February, and will be scheduled the morning of Friday, March 2, 2012. Performance order for the final round will be determined after the first round has ended. The final round itself will occur the evening of Friday, March 2.

The judges reserve the right not to choose a winner, should the quality of performances merit. The winner of the competition will be offered the opportunity to perform at the Final Concert on Sunday, March 4.

Students may stand or sit to perform. Students are not required to perform from memory. However, students using music must perform from legal printed copies: no photocopies or scanned copies of music are permitted. Students need not supply judges with score copies.

The first round is closed to the public, but the second round will be open for public viewing.

Choose one work for each round from the following lists.

Round One Repertoire

• Jeffrey Agrell, Romp.
• Malcolm Arnold, Fantasy.
• Paul Basler, Triathlon, mvt. 1.

Round Two Repertoire

• Paul Dukas, Villanelle.
• Gordon Jacob, Concerto, mvt. 1.
• Johan Kvandal, Introduction and Allegro.
• W.A. Mozart, Concerto No. 2 in E-flat Major, K. 417, mvt. 1.

Mock Orchestral Auditions

Eligibility

Students entering this competition must be enrolled at a college or university as undergraduate or graduate students, and must not currently hold a teaching position at a college or university (graduate assistantships excepted). Competing students must not have performed professionally under full-time contract, or have been previously offered such employment by virtue of winning a full-time professional audition.

Rules

The first round audition slots will be assigned via e-mail or phone in late February and will generally be scheduled in the morning on Friday, March 2. Performance order for the final round will be determined once the first round has ended and the final round itself will be scheduled later during the workshop, depending on the number of finalists.

The judges reserve the right not to choose a winner, should the quality of performances merit. The winners of the auditions will be recognized at the Final Concert on Sunday, March 4.

During the audition, students will conform to the excerpted parts available on the stand, which will be taken directly from the orchestral parts for the indicated works.

In the first round, the performers will be separated from the judges by a screen. The second round will not be screened. The general public will not be invited to observe this competition.

Each entrant should prepare all of the excerpts from either the high horn or low horn audition list.

High Horn Repertoire

Ludwig van Beethoven, Symphony No. 7, Op. 92.

Mvt. 1, mm. 86–110, Horn 1. (Corrected December 9)

Antonín Dvořák, Symphony No. 9 “From the New World,” B. 178.

Mvt. 1, mm. 16–27, Horn 3.

Gustav Mahler, Symphony No. 3.

Mvt. 1, mm. 1–11, Horn 1.

Gioachino Rossini, La gazza ladra Overture.

Mm. 11–13, Horn 1.

Richard Strauss, Till Eulenspiegels lustige Streiche, Op. 28.

Mm. 6–20, Horn 1.

Pyotr Ilyich Tchaikovsky, Symphony No. 5, Op. 64.

Mvt. 2, mm. 8–28, Horn 1.

Richard Wagner, Götterdämmerung, Act 1.

“Short Call,” Horn 1.

Low Horn Repertoire

Ludwig van Beethoven, Symphony No. 3, Op. 55.

Mvt. 3, pickup to mm. 171–205 (Trio, some editions number these mm. 167–201), Horn 2.

Joseph Haydn, Symphony No. 31 “Hornsignal.”

Mvt. 2, mm. 36–38, Horn 2.

Paul Hindemith, Symphonic Metamorphosis of Themes by Carl Maria von Weber.

Mvt. 3, Horn 2. Please e-mail Jeremy Hansen for a copy of this excerpt.

Dmitri Shostakovich, Symphony No. 5, Op. 47.

Mvt. 1, rehearsal 17–21, Horn 1.

Richard Strauss, Till Eulenspiegels lustige Streiche, Op. 28.

Rehearsal 28–29, Horn 3.

Richard Wagner, Prelude to Das Rheingold.

Mm. 29–59, Horn 8.

Quartet Competition

Eligibility

Students entering this competition must be enrolled at a college or university as undergraduate students. Competing students must not have performed professionally under full-time contract, or have been previously offered such employment by virtue of winning a full-time professional audition. All four performers in the quartet must register for the workshop and individually pay the competition fee.

Rules

The audition slots will be assigned via e-mail or phone in February.

The judges reserve the right not to choose a winner, should the quality of performances merit. The winners of the competition will be offered the opportunity to perform at the Final Concert on Sunday, March 4.

Quartets may sit or stand to perform. Quartets are not required to perform from memory. However, students using music must perform from legal printed copies: no photocopies or scanned copies of music are permitted. Each quartet must supply the judges with one score of each piece performed.

The general public will not be invited to observe this competition.

Repertoire

Each quartet should prepare no more than 15 minutes of music, including changing time between movements and pieces. Each quartet should, within this time slot, perform two works or movements of contrasting style. Only one of those pieces/movements may be an existing transcription, while the other must be a work originally composed for horn quartet. The group may instead perform two contrasting movements or works composed for horn quartet (i.e., not transcriptions).