Audition - Curtis Institute of Music
Source: https://www.curtis.edu/apply/audition
Archived: 2026-04-23 17:12
Audition - Curtis Institute of Music
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Admissions are based on artistic promise alone.
Audition dates, repertoire, and prescreening requirements vary by department. Dates are scheduled based on the faculty’s availability. Curtis is unable to honor requests for changes in the scheduled audition dates. Applicants who wish to double-major must audition and gain admission to each department separately.
Auditions may consist of pre-recorded submissions, interviews, and in-person rounds.
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Email
:
admissions@curtis.edu
Phone
:
(215) 717-3172
Contact Admissions
Bassoon
March 21, 2026
Bass Trombone
No Auditions
Cello
February 22–23, 2026
Clarinet
March 16, 2026
Composition
March 15, 2026
Conducting
March 7, 2026
Double Bass
March 4, 2026
Flute
March 7, 2026
Guitar
March 10, 2026
Harp
No Auditions
Horn
March 9–10, 2026
Oboe
March 15, 2026
Organ
March 11–12, 2026
Percussion
No Auditions
Piano
March 7–9, 2026
Tenor Trombone
March 15, 2026
Trumpet
March 22, 2026
Tuba
No Auditions
Viola
March 1, 2026
Violin
March 8–10, 2026
String Quartet
March 23, 2026
Voice & Opera
February 26–March 1, 2026
Brass
In addition to fulfilling the specific requirements below, applicants should possess physical aptitude for the chosen instrument, a good ear, a sense of rhythm, and the ability to read at sight.
Trumpet
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status no later than one month prior to the audition date.
Prescreening
Solo Pieces
One movement of either the Hummel Concerto in E-flat or Haydn Concerto in E-flat
Pakhmutova Concerto for Trumpet (Beginning – No. 12)
Contemporary Solo Work (Graduate applicants only)
Etudes
2 standard etudes of contrasting styles
(Choose from Bitsch, Bordogni, Bousquet, Brandt, Charlier, Sachse, Smith–Top Tones, Wurm, etc. or similar materials)
Orchestral Repertoire
For undergraduate applicants, choose 3 of the following excerpts:
Beethoven – Leonore Overture No. 3 (played one time)
Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
Respighi – Pines of Rome (Movement II. – Offstage Solo)
Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)
For graduate applicants, choose 3 of the following excerpts:
Bach – Magnificat (Movement I, Bars 1 – 31)
Beethoven – Leonore Overture No. 2 (played one time)
Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
Ravel – Concerto in G (Movement I, Reh. 2 – 3)
Respighi – Pines of Rome (Movement II. – Offstage Solo)
Strauss – Don Juan (Lyrical Solo, 5 Bars before Reh. F – G)
Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)
Live Audition (if advanced)
For undergraduate and graduate applicants:
Hummel
Concerto in E-flat or Haydn Concerto in E-flat
, complete
Pakhmutova
Concerto for Trumpet (Beginning – No. 12)
Contemporary Solo Work (Graduate applicants only)
2 standard etudes of contrasting styles
All orchestral excerpts listed in the prescreening requirements
You may be asked to sight read.
Horn
Prescreening
Applicants must submit a prescreening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status. Please record the following repertoire in one continuous take, no editing.
First movement, Strauss Horn Concerto No. 1
Fourth horn solo from Third movement, Beethoven’s Symphony No. 9 (mm. 83-99)
Short call from Wagner’s
Siegfrieds Rheinfahrt
Live Audition (if advanced)
Applicants will demonstrate familiarity with all major and minor scales and arpeggios. In addition, applicants will play:
One movement of a concerto or sonata
One étude by Kopprasch and one by Gallay
The following orchestral excerpts:
The last movement of Brahms’s Symphony No. 1
The second horn part from the trio of the third movement of Beethoven’s Symphony No. 3
The second movement of Tchaikovsky’s Symphony No. 5
R. Strauss’s
Till Eulenspiegel
Ravel’s
Pavane pour une infante defunte
The short call from Wagner’s
Siegfrieds Rheinfahrt
The first movement of Beethoven’s Symphony No. 7
The third movement of Brahms’s Symphony No. 3
Trombone
Auditions will be held for tenor trombone and/or bass trombone, depending on the opening. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Tenor Trombone
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.
One movement from a concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Bass Trombone
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.
One movement from a concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Six Major scales and arpeggios to be recorded as follows.
Record in one continuous take; do not stop the recording between scales.
Each scale should be two octaves ascending and descending with detached articulation, each followed by a slurred, two-octave arpeggio in the same key ascending and descending.
Start on the F at the bottom of the bass clef staff; then Gb, G, Ab, A, Bb.
Live Audition (if advanced
Bass and Tenor Trombone)
Applicants will play:
One complete concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Applicants may be asked to play all major and minor scales and to read at sight in alto, tenor, and bass clefs.
Tuba
The Curtis Institute of Music seeks an exceptionally talented and promising student to fill its single position for tuba. Prospective students are welcome to apply to either the undergraduate or graduate program; there is no preference for one over the other, and applicants will be assessed with their age in mind. For undergraduate applicants, it is recommended, but not required, to be proficient on both bass and contrabass tubas; graduate applicants are expected to play both instruments.
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following repertoire. Each selection may be recorded separately, but there may not be any additional editing or splicing within each selection. Please position the video recorder so that the mouthpiece on the face is visible. Audio may be recorded separately and synced with video. Create a separate file for each selection, and label each clearly with the last name of the applicant and the name of the selection. Applicants are encouraged to use the best recording equipment available to them, and to carefully select the best microphone placement and recording level to reduce distortion. Experiment with the recording process in advance, so that your recordings represent you as well as possible.
For undergraduate applicants:
Blazhevich, Etude #9
Snedecor, Low Etudes for Tuba, #4
Vaughan Williams, Tuba Concerto, movement 1, beginning to rehearsal 5; cadenza to end
Wagner, Die Meistersinger Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
For graduate applicants:
Blazhevich, Etude #17
Snedecor, Low Etudes for Tuba, #18
Vaughan Williams, Tuba Concerto, first movement including cadenza
Wagner, Meistersinger Overture, measures 1-8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)
Live Audition (if advanced)
For undergraduate applicants:
Snedecor, Low Etudes for Tuba, #4
J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
Vaughan Williams, Tuba Concerto, movement 1, complete; movement 2, rehearsal 1 to rehearsal 3
Wagner,
Die Meistersinger
Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
Mahler, Symphony No. 1, third movement solo (until rehearsal 4)
Sight reading may be required.
For graduate applicants:
Snedecor, Low Etudes for Tuba, #18
J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
Vaughan Williams, Tuba Concerto, complete
Wagner,
Die Meistersinger
Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)
Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
Respighi, Fountains of Rome, pick-up to rehearsal 11 to downbeat of rehearsal 14
Mahler, Symphony No. 1, third movement solo (until rehearsal 4)
Revueltas, Sensemaya, rehearsal 2 to rehearsal 11
Sight reading may be required.
Composition
Prescreening
Composition applicants will submit two to three original compositions. Wherever possible, applicants should submit scores for each work, though Curtis will consider works that cannot be represented in this way. Submission of accompanying recordings is strongly recommended (MIDI is acceptable).
These works can be in any genre and written for any forces. Multi-movement works are acceptable. Applicants’ original compositions will be reviewed by Curtis’s composition faculty and are the primary criteria for admission.
Live Audition (if advanced)
Finalists will be invited to campus for in-person interviews at Curtis in Philadelphia. Virtual interviews can be arranged if needed.
Conducting
Conducting applications are accepted for the post-baccalaureate diploma program only. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
Applicants must submit a high-quality audio-visual recording. Please see the Curtis website for all relevant deadlines.
Include three to four excerpts showing various musical styles from standard orchestral, operatic, and contemporary works. The excerpts can be derived from performances or rehearsals, and the entire recording should not exceed 20 minutes in length. Please provide recording dates for each excerpt.
Include a 45 second video of you conducting while singing an excerpt of your choice from one of the pieces you have included in your audition video. No accompaniment or orchestra is required. (iPhone video is acceptable for this requirement).
The recording must be representative of the applicant’s current work.
The applicant must be clearly visible.
Live Audition (if advanced)
All Conducting Fellow applicants selected for a live audition will have an interview with Curtis faculty, will demonstrate their score-reading, ear-training, transposition, and sight-singing skills, and will be asked to perform a short work on their primary instrument.
The second day of auditions will consist of the conducting round. Repertoire for the final conducting round will be announced at least three weeks in advance of the live audition.
Guitar
Updated April 2026
N.B. Prescreening new for students entering in Fall 2027.
Prescreening
One etude from Group A of the live audition repertoire
One piece from Group B or C of the live audition repertoire
Live Audition
Applicants will play works selected from categories A through E. Everything except the chamber piece is to be played from memory.
A. Two of the following études by different composers:
Regondi, Étude No. 2
Regondi, Étude No. 5
Regondi, Étude No. 8
Regondi, Étude No. 10
Sor, Studio in G Major, Op. 29, No. 3
Sor, Studio in A Major, Op. 6, No. 6
Sor, Studio in C Major, Op. 29, No. 17
Villa-Lobos, Étude No. 3
Villa-Lobos, Étude No. 7
Villa-Lobos, Étude No. 10
B. One of the following complete pieces:
J. S. Bach, Chaconne from Partita in D minor, BWV 1004
J. S. Bach, Lute Suite No. 2, BWV 997
J. S. Bach, Lute Suite No. 3, BWV 995
J. S. Bach, Prelude, Fugue and Allegro, BWV 998
Giuliani, Variations on a March by Cherubini, Op. 110
Matiegka, Sonata in B minor, Op. 31, no. 6
Regondi, Introduction and Caprice, Op. 23
Regondi,
Reverie-Nocturne
, Op. 19
Sor, Fantaisie, Op. 7
Sor, Fantaisie No. 7, Op. 30
Sor,
Souvenirs d’une Soiree a Berlin
, Op. 56
Sor,
Fantaisie Elegiaque
, Op. 59
C. One of the following complete pieces:
Ponce, Thème varié et finale
Ponce, Sonata No. 3
Ponce, Variations and Fugue on “La Folia”
José, Sonata
Britten,
Nocturnal after John Dowland
Walton, Bagatelles
Ginastera, Sonata, Op. 47
Carter,
Changes
Berio,
Sequenza XI
Brouwer, Sonata
D. One of the following concertos (first movement only; accompanist provided)
Giuliani, Concerto in A major, Op. 30
Ponce,
Concierto del Sur
Rodrigo,
Concierto de Aranjuez
E. One of the following chamber pieces (chamber partner provided)
Crumb,
Mundus Canis
: movements 2 and 4
Giuliani, Rondo, Op. 68, No. 2 in B minor (for guitar and piano)
Kolb,
Umbrian Colors
(for violin and guitar), movement 1
Lerdahl, Three Bagatelles (for violin and guitar), movement 2
Takemitsu,
Toward the Sea
(for alto flute and guitar), movement 3
Organ
Live Audition
Applicants will be asked to play the following pieces from memory.
A prelude and fugue by J. S. Bach
Any third movement from a Trio Sonata by J.S. Bach, BWV 525–530
One piece from the Romantic repertoire
One piece idiomatic of the 20th/21st century
Please note
: The Romantic piece and 20/21st century piece should contrast, one being lyrical and the other virtuosic.
Organ applicants will also be asked to sight read. A modern composition will be sent to each auditionee one month prior to auditions and will be performed (from memory, if preferred) at the audition.
View Dobson Op. 100 Specifications
Harp
To apply/Prescreening:
a) Interested prospective applicants will submit their proposed audition repertoire to the Admissions office via email to
admissions@curtis.edu
for faculty approval.
b) After faculty approves repertoire, applicants should submit their application, including prescreening materials.
Applicants will play from memory:
One solo work from the Baroque or Classical period
One solo work from the 20th century
One free-choice solo work of any period, similar in difficulty as Faure Impromptu, Pierne Impromptu-Caprice, Tournier Feerie, Grandjany Rhapsodie, and Salzedo Variation on a Theme in the Ancient Style
Two prepared excerpts from the standard orchestral literature (memorization not required)
All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty.
c) Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Live Audition (if advanced)
Before applying, all applicants should submit their proposed audition repertoire to the Admissions office via email to
admissions@curtis.edu
for faculty approval.
Applicants will play from memory:
One solo work from the Baroque or Classical period
One solo work from the 20th century
One free-choice solo work of any period
Two prepared excerpts from the standard orchestral literature (memorization not required)
All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty. All works should be prepared in their entirety; no single movements.
All auditioning harpists may use Curtis harps to practice (48 hours prior to the audition only) and audition. Available harps:
Lyon & Healy 2 Style 30’s
Lyon & Healy Salzedo (audition harp only)
Piano
Piano
In order to be considered for a live audition, applicants must submit a prescreening video together with their application. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
Applicants must submit a video of the following:
One complete prelude and fugue from either book of the Well-Tempered Clavier of J.S. Bach
One of the sonatas listed below, complete:
Any Mozart sonata (except K. 545)
Any Beethoven sonata (except Op. 49)
Any of these five Haydn sonatas:
A-flat major, Hob. XVI:46, L. 31
C minor, Hob. XVI:20, L. 33
E-flat major, Hob. XVI:49, L. 59
C major, Hob. XVI:50, L. 60
E-flat major, Hob. XVI:52, L. 62
One slow (lyrical) and one fast (virtuosic) selection from the works of Chopin for solo piano.
Please review the Chopin guidelines here:
Chopin Repertoire Guidelines
No substitutions for the above repertoire will be allowed.
Video requirements:
playing from memory
both hands and feet showing
recorded not more than six months before the application deadline
movements may be recorded separately, but each movement should be one uninterrupted recording with no splicing or editing (except equalization and/or reverb)
each selection should be a separate file, clearly labeled according to the format: Composer, Title, Key, Opus Number | Movement Number (example: Beethoven Sonata in F minor, Op. 2, No.1 | IV)
Live Audition (if advanced)
In addition to all of the prescreening repertoire above, applicants must prepare one other solo-piano work (or any portion of such a work) that will only be asked in the final round of the live auditions. The solo piece may be by any composer
except
Bach, Haydn, Mozart, Beethoven, and Chopin. No concerti or other works with orchestra are allowed.
Note
:
this choice, within the broad guidelines designated above, is entirely up to the candidate; therefore, Curtis will not provide any feedback or consultation on this choice.
All pieces in all rounds should be played from memory.
No repertoire changes/substitutions are allowed within one month of live audition.
Strings
Violin
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
All applicants must play from memory.
Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording; please include at least one slow tempo movement:
One movement from a major concerto.
One movement from a Mozart concerto including cadenza
Two movements from a Bach solo sonata or partita
A Paganini caprice
Live Audition (if advanced)
For undergraduate applicants (Bachelor of Music and Diploma):
A complete major concerto
A complete Mozart concerto
A complete Bach solo sonata or partita
A Paganini caprice
All applicants must play from memory.
For graduate applicants (Post Baccalaureate Diploma or Master of Music):
All of the same repertoire requirements as Bachelor’s candidates above, PLUS
A complete sonata from this list: Faure A Major, Schumann a minor, Brahms G Major, or Schubert A Major Duo
A commission from a Curtis student composer written expressly for the audition, for solo violin and under five minutes in length. The piece will be sent to all those who pass the prescreening round, as soon they’ve been selected.
All works should be played from memory except the sonata and the new commissioned piece.
Viola
Prescreening
Each piece or movement should be submitted without edits, with a single camera angle that shows your hands and arms clearly. The entire prescreening program should be memorized.
A major movement of at least 7 or 8 minutes’ length from the concerto chosen for the live round (see list below). For example, if playing Bartók in the live round, submit the 1st movement for prescreening; if playing Schnittke, submit the 2nd or 3rd movement; if playing Penderecki, submit a substantial (7–8 minute) stretch of the work; and so on.
With accompaniment.
Two movements from the Bach work chosen for the live round (see list below). Please omit any repeats.
The short unaccompanied work or movement from the 20th or 21st century chosen for the live round (see list below).
Live Audition (if advanced)
Entire live audition program should be memorized except item 2 in the list below.
Applicants will play:
An entire major concerto from the 20th or 21st century, such as Bartók, Walton, Hindemith
Der
Schwanendreher
, Penderecki, Schnittke, or Higdon. The concerto does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
An entire sonata or sonata-like work drawn from the 19th century or later, for example a Brahms sonata, Vieuxtemps Sonata Op. 36, Schumann Märchenbilder, Bax Sonata, Hindemith Sonata (1939), or Shostakovich Sonata. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
An entire unaccompanied work by J.S. Bach, drawn from either the Cello Suites or Violin Sonatas and Partitas.
A short, unaccompanied work or movement from the 20th or 21st century, for example a movement from a Reger suite or Hindemith solo sonata, a movement from the Ligeti Sonata, the Penderecki
Cadenza
, Joan Tower’s
Wild Purple
, or a caprice by Atar Arad. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
Cello
Prescreening
Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording.
A prelude plus another complete movement with repeats of a J.S. Bach suite
First movement with cadenza of one of the following concertos:
Barber
Bloch,
Schelomo
(It could end at the beginning of the e-minor section or until the Andante. Complete work is fine too.)
Dvorak
Elgar (1st and 2nd movements, OR 4th movement)
Haydn in C or D
Lalo
Prokofiev,
Sinfonia Concertante
(movement 1 or 2)
Saint-Saëns No. 1 (movements 1 and 2)
Schumann
Shostakovich No. 1 (movements 2 and 3, 2 and 4, or 3 and 4; 1st movement will not be accepted)
Shostakovich No. 2
Tchaikovsky,
Rococo Variations
(If the Fitzenhagen version of
Rococo Variations
is chosen, please play the Theme and Variations 1, 2, 3, and 7; if the original version of
Rococo Variations
is chosen, please play the Theme and Variations 1, 2, 3, and 4.)
Walton
A virtuoso piece. Examples include:
a fast movement from Boccherini A major Sonata, Locatelli, or Valentini
Faure Papillon
Paganini Moses Variations
Popper Elfentanz, Hungarian Rhapsody, or Spinning Song
Tchaikovsky Pezzo Capriccioso
a complete étude from Popper, Op. 73, or an étude by Piatti
First movement
with piano
of one of the sonatas by Beethoven or Brahms, or Schubert Arpeggione
Live Audition (if advanced)
For undergraduate applicants:
All prescreening requirements. The concerto selection and Bach must be from memory.
For graduate applicants:
a complete J. S. Bach suite
one of the following concertos, complete:
Barber
Bloch,
Schelomo
Dvorak
Elgar
Haydn in C or D
Lalo
Prokofiev,
Sinfonia Concertante
Saint-Saëns No. 1
Schumann
Shostakovich No. 1 or No. 2
Tchaikovsky,
Rococo Variations
Walton
a virtuoso piece (see guidelines in prescreening requirements)
one free-choice short piece or movement, accompanied or unaccompanied, from any time period. This selection is intended to showcase the skills of the applicant, and along with the other repertoire selections, demonstrate the applicant’s strengths as completely as possible.
one of the sonatas,
with piano
, by Beethoven or Brahms, or Schubert Arpeggione, complete.
Everything except the free-choice selection and Beethoven, Brahms, or Schubert is to be played from memory.
Double Bass
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status.
Prescreening (updated 10/6/25)
Applicants should prepare a movement of a Bach cello suite and one other piece of choice that best exhibits their skills.
Live Audition (if advanced)
Applicants will play from memory:
A movement written before 1830, preferably from a solo work by Bach.
A movement written after 1830.
One other work from any period, which could be another movement from the required works above.The pieces may be originally written for Double bass or transcribed from another instrument. The three choices should show the strengths of the applicant as completely as possible.
In addition, two prepared excerpts from the standard orchestral literature will be required (music may be used for this portion only).
String Quartet
Prescreening
Please submit the following materials with your application:
A full group bio (or link to the quartet’s website) detailing information including the ensemble’s history, formal training, residencies, competitions, and awards
A full repertoire list
The pre-screening recording requirements are as follows:
Quartets must submit a high-quality audio-visual recording using the following repertoire guidelines. Selections should be contrasting in style.
A movement of a work from the standard classical repertoire
A movement of a work from the standard romantic repertoire
A movement or work from the period 1900-1975
A movement or work from the period 1975-present
The recording must be representative of the quartet’s current work, and the ensemble must be clearly visible.
Live Audition (If advanced)
The included repertoire should represent a variety of musical periods and styles. For the audition, the quartet should perform for approximately 45 minutes. The first selection is a movement of the group’s choice. Subsequent selections of pieces and movements will be made by the audition committee. Finally, there will be a 15-minute interview/discussion conducted by the audition committee. The quartet should be prepared to comment on the group’s background, goals, etc.
Timpani and Percussion
Updated August 2025
Prescreening
All applicants should submit a video that includes the following materials. Please note that two pieces for mallet instrument are required — one played with 2 mallets and the other with 4 mallets.
A movement of a work by J.S. Bach for either two or four mallets on marimba
A contemporary work for either two or four mallets (may be performed on marimba, vibraphone, or xylophone)
One timpani etude or solo that includes rolls
One classical snare drum solo or etude
Note
: This round has no orchestral excerpts and no rudimental solo. It can be one or multiple videos. You may submit four videos; however, no individual video(s) editing is allowed.
Live Audition
Applicants should demonstrate a knowledge of the fundamental techniques of percussion and timpani. They will be examined on timpani pitch recognition and technical skills such as rolls (final round only). Please note, two pieces for mallet instrument are required — one played with 2 mallets and the other with 4 mallets.
A movement of a work by J.S. Bach for either two or four mallets on marimba
A contemporary work for two or four mallets on marimba
Optional: An additional solo on vibraphone or xylophone
Two studies on snare drum – one classical and one rudimental
One study on timpani
Sight reading will be required
For applicants who are presently 18 years old or younger and completing high school, one orchestral excerpt on snare drum, xylophone, and timpani is optional.
Applicants must possess a good ear and be able to sing and recognize all intervals (final round only).
In addition to the above repertoire, any student applying in the following categories of post-secondary study
must
add orchestral excerpts as noted here
If you are transferring from a present level of undergraduate study, prepare 2 excerpts on snare drum, 2 excerpts on mallets, 2 excerpts on timpani
If you have already completed a bachelor’s degree, prepare 3 excerpts on snare drum, 3 excerpts on xylophone, 1 excerpt on glockenspiel, 3 excerpts on timpani
If you have already completed a master’s degree, prepare 4 excerpts on snare drum, 4 excerpts on xylophone, 2 excerpts on glockenspiel, 4 excerpts on timpani
Vocal Studies
Undergraduate (Bachelor of Music and Diploma)
All applicants in voice are required to submit a screening recording with application materials. Applicants must possess a high school diploma or equivalent by the time they enroll at Curtis
.
The following format types are accepted:
Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
Documents (.doc, .pdf, .xls)
Prescreening
Three repertoire selections – one selection in English, one aria, and one selection from German Lieder, Italian, or French art songs from any period.
Video recordings
should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you.
Pre-recorded
accompaniment is acceptable
.
Live Audition (if advanced)
Vocalists who audition live will be asked to perform up to four selections from memory, showing the character and quality of voice and musicianship:
one selection in English (not a translation)
three selections from the standard repertoire, German lieder, classic Italian songs, or French and English songs of any period
an aria from an opera or oratorio
Graduate (Master of Music, Post-Baccalaureate Diploma, Professional Studies Certificate)
All applicants in voice are required to submit screening
video
recordings
with application materials. Please see the Curtis website for all relevant deadlines.
The following format types are accepted:
Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
Documents (.doc, .pdf, .xls)
Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB. Please upload each piece as its own file.
Prescreening
Three contrasting opera arias.
Videos
should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you.
Pre-recorded
accompaniment is acceptable
.
Live Audition (if advanced)
Vocalists who audition live will be asked to perform, from memory, up to five contrasting arias from the standard operatic repertoire.
We encourage applicants to explore the repertoire from composers underrepresented in the canon when selecting their audition material. The two links below are for reference.
Institute for Composer Diversity Database
Music by Black Composers Database
Substitutions or exceptions to the audition repertoire are not permitted. While the choice of composition is important, audition performance carries the greater weight. Audition candidates may be asked to demonstrate their sight-reading ability. A knowledge of piano and music theory is desirable. Please reach out to a member of the admissions team at
admissions@curtis.edu
with any questions about specific repertoire and audition requirements.
Woodwinds
Applicants will demonstrate familiarity with all major and minor scales and arpeggios, and will be expected to demonstrate sight-reading ability with material chosen by the instructor.
Flute
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Curtis no longer accepts flute applicants for the Post Baccalaureate program
.
Prescreening
Applicants should prepare a video recording of (at least) one movement from each of three contrasting pieces. Works with piano (or other instrumental) accompaniment should be performed with piano accompaniment.
Live Audition (if advanced)
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor. Applicants will play:
Three complete prepared pieces (all movements) in contrasting tempo and style
Three orchestral excerpts
Applicants should perform from memory if possible
Oboe
There will be no pre-screening. The live audition will take place in three rounds, the first two of which are blind. The last round will involve concerto playing, an interview, and sight-reading. A three-minute solo oboe composition by a Curtis composer will be compulsory for all applicants in the second round. A pianist will be provided. Candidates will prepare:
1a)
A Baroque slow movement of the candidate’s choice, three to six minutes in length. Please include all repeats.
1b)
For
undergraduate applicants
:
Pierre Sancan: Sonatine for oboe and piano, Mvt. 1
For
graduate applicants
:
Pierre Sancan: Sonatine for oboe and piano, Mvts. 2 and 3
2a)
For
undergraduate applicants
, choose one of the following:
Marina Dranishnikova: Poeme
Vivian Fine: Sonatina
Ulysses Kay: Suite in B for oboe and piano
Alyssa Morris: Four Personalities (Mvt. 3 and one other movement of choice)
Clara Schumann: Romances Op. 22, Pick 2/3
William Grant Still: Incantation and Dance
For
graduate applicants
, choose one of the following complete works:
Grażyna Bacewicz: Oboe Sonata
Jean Coulthard: Sonata
Madeline Dring: Three Piece Suite
Chiayu Hsu: Contrast for Oboe and Piano (Curtis composer)
Brian Nabors: Sonata for Oboe and Piano
Makoto Shinohara: Obsession
2b)
Compulsory piece (solo oboe) by a Curtis composer
Delfin Demiray: Propsi
(Click here to download the score)
3)
For the final round, one of the following complete works:
Marie Clemence de Grandval: Oboe Concerto
Lukas Foss: Oboe Concerto (Curtis composer)
Eugene Goossens: Oboe Concerto
Ruth Gipps: Oboe Concerto
Jennifer Higdon: Oboe Concerto (Curtis composer)
N. Hummel: Introduction, Theme, and Variations
Jacques Ibert: Sinfonia Concertante
J.W. Kalliwoda: Concertino in F
Franz Krommer: Concerto No. 2 in F, Op. 52
Ulysses Kay: Oboe Concerto
L.A. Lebrun: Concerto No. 1 in d minor
Jean-Marie Leclair: Oboe Concerto
Bohuslav Martinu: Oboe Concerto
Thea Musgrave: Night Windows (for oboe and strings)
Clarinet
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor.
Prescreening
The exposition of the first movement of the Mozart concerto (with piano accompaniment)
The following orchestral excerpts:
Mendelssohn,
A Midsummer Night’s Dream
(beginning to letter A, 6th bar of letter D to 19 bars after letter E)
Rimsky-Korsakov,
Capriccio Espagnol
, movement 1 (letter A to letter B, letter C for 21 bars)
Brahms, Symphony No. 3, movement 1 (bars 26-46), movement 2 (beginning for 22 bars)
Resphigi,
Pines of Rome
, Mvt. III (“I pini del Gianicolo”): Complete
Rimsky-Korsakov,
Scheherazade
, Op. 35, Mvt. II: Rehearsal F – Rehearsal G cadenza
Rimsky-Korsakov,
Scheherazade
, Op. 35, Mvt. III: Rehearsal G – Rehearsal H
Stravinsky,
The Firebird
Suite Mvt. III Variation of the Firebird: Complete
Live Audition (if advanced)
Applicants will play:
The Mozart clarinet concerto
Adolphus Hailstork’s Three Smiles for Tracy
Two contrasting pieces from the Rose Thirty-two Études
A prepared piece of the applicant’s choice
A 20th-century piece of the applicant’s choice
Bassoon
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor.
Prescreening
Movements 1 and 2 of a concerto by Mozart, Weber, or Hummel (expositions only; accompaniment is not required)
Two of the following orchestral excerpts:
Marriage of Figaro Overture (mm. 139 – 171)
Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
Bolero (solo)
Rite of Spring (opening solos)
Scheherazade (Mvt. 2, solo and cadenzas)
Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 – 25, 184 – 188, 300 – 303, 348 – end)
Firebird (Berceuse solo)
Shostakovich, Symphony No. 9 (solo from Mvts. 4 – 5)
Ravel, Piano Concerto (Mvt. 1, rhl. 9 – 10, and Mvt. 3, rhl. 14 – 16)
Live Audition (if advanced)
Choose the first two movements, (complete with cadenzas where applicable), of one the following:
Hummel: Concerto in F
Mozart: Concerto in B-Flat
Weber: Concerto in F
Choose one of the following (complete):
Jenni Brandon:
Colored Stones
Nancy Galbraith:
Sonata for Bassoon and Piano
William Grant Still:
Songs for Bassoon and Piano
Adolphus Hailstork:
Bassoon Set
Ulysses Kay:
Sonata for Bassoon and Piano
José Siqueira:
Drei Etuden (Three Etudes) for Bassoon and Piano
Jacqueline Wilson Dance Suite for Solo Bassoon
Choose three of the following orchestral excerpts:
Beethoven: Symphony No. 4 (mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
Mozart: Marriage of Figaro Overture (mm. 139-171)
Ravel: Bolero (Solo)
Ravel: Piano Concerto (mvt. 1, rehearsal number 9-10; mvt. 3, rehearsal number 14-16, both parts combined)
Rimsky-Korsakov: Scheherazade (mvt. 2, solo and cadenzas)
Shostakovich: Symphony No. 9 (solo from mvt. 4-5)
Stravinsky: Firebird (Berceuse solo)
Stravinsky: Rite of Spring (Opening solos)
Tchaikovsky: Symphony No. 4 (mvt. 2, solo to end)
Tchaikovsky: Symphony No. 6 (mvt. 1, opening solo)
Where do the auditions take place?
Live auditions are held on campus at 1726 Locust Street or at Lenfest Hall at 1616 Locust Street. Curtis does not hold regional auditions at this time.
What can I expect on the day of the audition?
Auditions consist of pre-recorded submissions, interviews, and in-person rounds during February and March. If in-person rounds are not possible, the admissions team will coordinate safe and equitable live virtual auditions. A final decision on the audition format will be made closer to the application deadline in early December.
You will have around 30 minutes of warm-up time in a designated room. Curtis student proctors will be running most of the logistics, under the supervision of the admissions team. Students are happy to answer any questions you may have about Curtis while you wait.
Should I memorize the music I’ll be playing in the audition?
It depends on the department for which you’re auditioning. The
Repertoire
section of this page outlines requirements for repertoire and memorization.
What repertoire do I need to play at my audition?
Audition repertoire varies by major department. The best way to determine the repertoire requirements is to visit the
Repertoire
section of this page.
How much time will I have to warm up at my audition?
In a typical year, each applicant may warm-up for 30 minutes in an assigned practice room before the audition. The audition proctors will take you to your practice room at your designated time. Please plan to arrive at least 10 minutes before your slotted audition time.
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Admissions are based on artistic promise alone.
Audition dates, repertoire, and prescreening requirements vary by department. Dates are scheduled based on the faculty’s availability. Curtis is unable to honor requests for changes in the scheduled audition dates. Applicants who wish to double-major must audition and gain admission to each department separately.
Auditions may consist of pre-recorded submissions, interviews, and in-person rounds.
Application Portal
Need Assistance?
Get in contact with admissions.
:
admissions@curtis.edu
Phone
:
(215) 717-3172
Contact Admissions
Bassoon
March 21, 2026
Bass Trombone
No Auditions
Cello
February 22–23, 2026
Clarinet
March 16, 2026
Composition
March 15, 2026
Conducting
March 7, 2026
Double Bass
March 4, 2026
Flute
March 7, 2026
Guitar
March 10, 2026
Harp
No Auditions
Horn
March 9–10, 2026
Oboe
March 15, 2026
Organ
March 11–12, 2026
Percussion
No Auditions
Piano
March 7–9, 2026
Tenor Trombone
March 15, 2026
Trumpet
March 22, 2026
Tuba
No Auditions
Viola
March 1, 2026
Violin
March 8–10, 2026
String Quartet
March 23, 2026
Voice & Opera
February 26–March 1, 2026
Brass
In addition to fulfilling the specific requirements below, applicants should possess physical aptitude for the chosen instrument, a good ear, a sense of rhythm, and the ability to read at sight.
Trumpet
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status no later than one month prior to the audition date.
Prescreening
Solo Pieces
One movement of either the Hummel Concerto in E-flat or Haydn Concerto in E-flat
Pakhmutova Concerto for Trumpet (Beginning – No. 12)
Contemporary Solo Work (Graduate applicants only)
Etudes
2 standard etudes of contrasting styles
(Choose from Bitsch, Bordogni, Bousquet, Brandt, Charlier, Sachse, Smith–Top Tones, Wurm, etc. or similar materials)
Orchestral Repertoire
For undergraduate applicants, choose 3 of the following excerpts:
Beethoven – Leonore Overture No. 3 (played one time)
Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
Respighi – Pines of Rome (Movement II. – Offstage Solo)
Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)
For graduate applicants, choose 3 of the following excerpts:
Bach – Magnificat (Movement I, Bars 1 – 31)
Beethoven – Leonore Overture No. 2 (played one time)
Debussy – Nocturnes (II. Fetes, Reh. 10 – 11)
Mahler – Symphony No. 5 (Movement I. Opening, Bars 1 – 24)
Mussorgsky/Ravel – Pictures at an Exhibition (I. Promenade, Bars 1 – 8)
Ravel – Concerto in G (Movement I, Reh. 2 – 3)
Respighi – Pines of Rome (Movement II. – Offstage Solo)
Strauss – Don Juan (Lyrical Solo, 5 Bars before Reh. F – G)
Stravinsky – Petrouchka (1947) (Ballerina’s Dance – 1 Bar before Reh. 134 – 139)
Live Audition (if advanced)
For undergraduate and graduate applicants:
Hummel
Concerto in E-flat or Haydn Concerto in E-flat
, complete
Pakhmutova
Concerto for Trumpet (Beginning – No. 12)
Contemporary Solo Work (Graduate applicants only)
2 standard etudes of contrasting styles
All orchestral excerpts listed in the prescreening requirements
You may be asked to sight read.
Horn
Prescreening
Applicants must submit a prescreening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status. Please record the following repertoire in one continuous take, no editing.
First movement, Strauss Horn Concerto No. 1
Fourth horn solo from Third movement, Beethoven’s Symphony No. 9 (mm. 83-99)
Short call from Wagner’s
Siegfrieds Rheinfahrt
Live Audition (if advanced)
Applicants will demonstrate familiarity with all major and minor scales and arpeggios. In addition, applicants will play:
One movement of a concerto or sonata
One étude by Kopprasch and one by Gallay
The following orchestral excerpts:
The last movement of Brahms’s Symphony No. 1
The second horn part from the trio of the third movement of Beethoven’s Symphony No. 3
The second movement of Tchaikovsky’s Symphony No. 5
R. Strauss’s
Till Eulenspiegel
Ravel’s
Pavane pour une infante defunte
The short call from Wagner’s
Siegfrieds Rheinfahrt
The first movement of Beethoven’s Symphony No. 7
The third movement of Brahms’s Symphony No. 3
Trombone
Auditions will be held for tenor trombone and/or bass trombone, depending on the opening. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Tenor Trombone
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.
One movement from a concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Bass Trombone
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following. Each work should be one uninterrupted recording.
One movement from a concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Six Major scales and arpeggios to be recorded as follows.
Record in one continuous take; do not stop the recording between scales.
Each scale should be two octaves ascending and descending with detached articulation, each followed by a slurred, two-octave arpeggio in the same key ascending and descending.
Start on the F at the bottom of the bass clef staff; then Gb, G, Ab, A, Bb.
Live Audition (if advanced
Bass and Tenor Trombone)
Applicants will play:
One complete concerto, sonata, or other substantial solo work.
One technical étude by Kopprasch, Tyrell, or Blazhevich.
One lyrical étude by Bordogni, Rochut, or the equivalent.
At least three orchestral excerpts of contrasting style.
Applicants may be asked to play all major and minor scales and to read at sight in alto, tenor, and bass clefs.
Tuba
The Curtis Institute of Music seeks an exceptionally talented and promising student to fill its single position for tuba. Prospective students are welcome to apply to either the undergraduate or graduate program; there is no preference for one over the other, and applicants will be assessed with their age in mind. For undergraduate applicants, it is recommended, but not required, to be proficient on both bass and contrabass tubas; graduate applicants are expected to play both instruments.
Prescreening
Applicants should prepare video recordings (unaccompanied) of the following repertoire. Each selection may be recorded separately, but there may not be any additional editing or splicing within each selection. Please position the video recorder so that the mouthpiece on the face is visible. Audio may be recorded separately and synced with video. Create a separate file for each selection, and label each clearly with the last name of the applicant and the name of the selection. Applicants are encouraged to use the best recording equipment available to them, and to carefully select the best microphone placement and recording level to reduce distortion. Experiment with the recording process in advance, so that your recordings represent you as well as possible.
For undergraduate applicants:
Blazhevich, Etude #9
Snedecor, Low Etudes for Tuba, #4
Vaughan Williams, Tuba Concerto, movement 1, beginning to rehearsal 5; cadenza to end
Wagner, Die Meistersinger Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
For graduate applicants:
Blazhevich, Etude #17
Snedecor, Low Etudes for Tuba, #18
Vaughan Williams, Tuba Concerto, first movement including cadenza
Wagner, Meistersinger Overture, measures 1-8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)
Live Audition (if advanced)
For undergraduate applicants:
Snedecor, Low Etudes for Tuba, #4
J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
Vaughan Williams, Tuba Concerto, movement 1, complete; movement 2, rehearsal 1 to rehearsal 3
Wagner,
Die Meistersinger
Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
Mahler, Symphony No. 1, third movement solo (until rehearsal 4)
Sight reading may be required.
For graduate applicants:
Snedecor, Low Etudes for Tuba, #18
J.S. Bach, Bouree 1 and 2 from Cello Suite #3, played 8ba (one octave lower than written), without repeats or da Capo
Vaughan Williams, Tuba Concerto, complete
Wagner,
Die Meistersinger
Overture, measures 1–8; rehearsal J to rehearsal L
Wagner, Ride of the Walküre, standard B-major excerpt
Berlioz, Hungarian March, rehearsal 4 to 2 measures after rehearsal 5
Strauss, Ein Heldenleben, rehearsal 62 to 2nd measure of rehearsal 65; rehearsal 74 to 2nd measure of rehearsal 75 (do not use mute)
Prokofiev, Symphony No. 5, first movement, rehearsal 3 to rehearsal 6
Respighi, Fountains of Rome, pick-up to rehearsal 11 to downbeat of rehearsal 14
Mahler, Symphony No. 1, third movement solo (until rehearsal 4)
Revueltas, Sensemaya, rehearsal 2 to rehearsal 11
Sight reading may be required.
Composition
Prescreening
Composition applicants will submit two to three original compositions. Wherever possible, applicants should submit scores for each work, though Curtis will consider works that cannot be represented in this way. Submission of accompanying recordings is strongly recommended (MIDI is acceptable).
These works can be in any genre and written for any forces. Multi-movement works are acceptable. Applicants’ original compositions will be reviewed by Curtis’s composition faculty and are the primary criteria for admission.
Live Audition (if advanced)
Finalists will be invited to campus for in-person interviews at Curtis in Philadelphia. Virtual interviews can be arranged if needed.
Conducting
Conducting applications are accepted for the post-baccalaureate diploma program only. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
Applicants must submit a high-quality audio-visual recording. Please see the Curtis website for all relevant deadlines.
Include three to four excerpts showing various musical styles from standard orchestral, operatic, and contemporary works. The excerpts can be derived from performances or rehearsals, and the entire recording should not exceed 20 minutes in length. Please provide recording dates for each excerpt.
Include a 45 second video of you conducting while singing an excerpt of your choice from one of the pieces you have included in your audition video. No accompaniment or orchestra is required. (iPhone video is acceptable for this requirement).
The recording must be representative of the applicant’s current work.
The applicant must be clearly visible.
Live Audition (if advanced)
All Conducting Fellow applicants selected for a live audition will have an interview with Curtis faculty, will demonstrate their score-reading, ear-training, transposition, and sight-singing skills, and will be asked to perform a short work on their primary instrument.
The second day of auditions will consist of the conducting round. Repertoire for the final conducting round will be announced at least three weeks in advance of the live audition.
Guitar
Updated April 2026
N.B. Prescreening new for students entering in Fall 2027.
Prescreening
One etude from Group A of the live audition repertoire
One piece from Group B or C of the live audition repertoire
Live Audition
Applicants will play works selected from categories A through E. Everything except the chamber piece is to be played from memory.
A. Two of the following études by different composers:
Regondi, Étude No. 2
Regondi, Étude No. 5
Regondi, Étude No. 8
Regondi, Étude No. 10
Sor, Studio in G Major, Op. 29, No. 3
Sor, Studio in A Major, Op. 6, No. 6
Sor, Studio in C Major, Op. 29, No. 17
Villa-Lobos, Étude No. 3
Villa-Lobos, Étude No. 7
Villa-Lobos, Étude No. 10
B. One of the following complete pieces:
J. S. Bach, Chaconne from Partita in D minor, BWV 1004
J. S. Bach, Lute Suite No. 2, BWV 997
J. S. Bach, Lute Suite No. 3, BWV 995
J. S. Bach, Prelude, Fugue and Allegro, BWV 998
Giuliani, Variations on a March by Cherubini, Op. 110
Matiegka, Sonata in B minor, Op. 31, no. 6
Regondi, Introduction and Caprice, Op. 23
Regondi,
Reverie-Nocturne
, Op. 19
Sor, Fantaisie, Op. 7
Sor, Fantaisie No. 7, Op. 30
Sor,
Souvenirs d’une Soiree a Berlin
, Op. 56
Sor,
Fantaisie Elegiaque
, Op. 59
C. One of the following complete pieces:
Ponce, Thème varié et finale
Ponce, Sonata No. 3
Ponce, Variations and Fugue on “La Folia”
José, Sonata
Britten,
Nocturnal after John Dowland
Walton, Bagatelles
Ginastera, Sonata, Op. 47
Carter,
Changes
Berio,
Sequenza XI
Brouwer, Sonata
D. One of the following concertos (first movement only; accompanist provided)
Giuliani, Concerto in A major, Op. 30
Ponce,
Concierto del Sur
Rodrigo,
Concierto de Aranjuez
E. One of the following chamber pieces (chamber partner provided)
Crumb,
Mundus Canis
: movements 2 and 4
Giuliani, Rondo, Op. 68, No. 2 in B minor (for guitar and piano)
Kolb,
Umbrian Colors
(for violin and guitar), movement 1
Lerdahl, Three Bagatelles (for violin and guitar), movement 2
Takemitsu,
Toward the Sea
(for alto flute and guitar), movement 3
Organ
Live Audition
Applicants will be asked to play the following pieces from memory.
A prelude and fugue by J. S. Bach
Any third movement from a Trio Sonata by J.S. Bach, BWV 525–530
One piece from the Romantic repertoire
One piece idiomatic of the 20th/21st century
Please note
: The Romantic piece and 20/21st century piece should contrast, one being lyrical and the other virtuosic.
Organ applicants will also be asked to sight read. A modern composition will be sent to each auditionee one month prior to auditions and will be performed (from memory, if preferred) at the audition.
View Dobson Op. 100 Specifications
Harp
To apply/Prescreening:
a) Interested prospective applicants will submit their proposed audition repertoire to the Admissions office via email to
admissions@curtis.edu
for faculty approval.
b) After faculty approves repertoire, applicants should submit their application, including prescreening materials.
Applicants will play from memory:
One solo work from the Baroque or Classical period
One solo work from the 20th century
One free-choice solo work of any period, similar in difficulty as Faure Impromptu, Pierne Impromptu-Caprice, Tournier Feerie, Grandjany Rhapsodie, and Salzedo Variation on a Theme in the Ancient Style
Two prepared excerpts from the standard orchestral literature (memorization not required)
All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty.
c) Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Live Audition (if advanced)
Before applying, all applicants should submit their proposed audition repertoire to the Admissions office via email to
admissions@curtis.edu
for faculty approval.
Applicants will play from memory:
One solo work from the Baroque or Classical period
One solo work from the 20th century
One free-choice solo work of any period
Two prepared excerpts from the standard orchestral literature (memorization not required)
All works should be performed from memory with the exception of the orchestral excerpts or with special approval from faculty. All works should be prepared in their entirety; no single movements.
All auditioning harpists may use Curtis harps to practice (48 hours prior to the audition only) and audition. Available harps:
Lyon & Healy 2 Style 30’s
Lyon & Healy Salzedo (audition harp only)
Piano
Piano
In order to be considered for a live audition, applicants must submit a prescreening video together with their application. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
Applicants must submit a video of the following:
One complete prelude and fugue from either book of the Well-Tempered Clavier of J.S. Bach
One of the sonatas listed below, complete:
Any Mozart sonata (except K. 545)
Any Beethoven sonata (except Op. 49)
Any of these five Haydn sonatas:
A-flat major, Hob. XVI:46, L. 31
C minor, Hob. XVI:20, L. 33
E-flat major, Hob. XVI:49, L. 59
C major, Hob. XVI:50, L. 60
E-flat major, Hob. XVI:52, L. 62
One slow (lyrical) and one fast (virtuosic) selection from the works of Chopin for solo piano.
Please review the Chopin guidelines here:
Chopin Repertoire Guidelines
No substitutions for the above repertoire will be allowed.
Video requirements:
playing from memory
both hands and feet showing
recorded not more than six months before the application deadline
movements may be recorded separately, but each movement should be one uninterrupted recording with no splicing or editing (except equalization and/or reverb)
each selection should be a separate file, clearly labeled according to the format: Composer, Title, Key, Opus Number | Movement Number (example: Beethoven Sonata in F minor, Op. 2, No.1 | IV)
Live Audition (if advanced)
In addition to all of the prescreening repertoire above, applicants must prepare one other solo-piano work (or any portion of such a work) that will only be asked in the final round of the live auditions. The solo piece may be by any composer
except
Bach, Haydn, Mozart, Beethoven, and Chopin. No concerti or other works with orchestra are allowed.
Note
:
this choice, within the broad guidelines designated above, is entirely up to the candidate; therefore, Curtis will not provide any feedback or consultation on this choice.
All pieces in all rounds should be played from memory.
No repertoire changes/substitutions are allowed within one month of live audition.
Strings
Violin
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Prescreening
All applicants must play from memory.
Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording; please include at least one slow tempo movement:
One movement from a major concerto.
One movement from a Mozart concerto including cadenza
Two movements from a Bach solo sonata or partita
A Paganini caprice
Live Audition (if advanced)
For undergraduate applicants (Bachelor of Music and Diploma):
A complete major concerto
A complete Mozart concerto
A complete Bach solo sonata or partita
A Paganini caprice
All applicants must play from memory.
For graduate applicants (Post Baccalaureate Diploma or Master of Music):
All of the same repertoire requirements as Bachelor’s candidates above, PLUS
A complete sonata from this list: Faure A Major, Schumann a minor, Brahms G Major, or Schubert A Major Duo
A commission from a Curtis student composer written expressly for the audition, for solo violin and under five minutes in length. The piece will be sent to all those who pass the prescreening round, as soon they’ve been selected.
All works should be played from memory except the sonata and the new commissioned piece.
Viola
Prescreening
Each piece or movement should be submitted without edits, with a single camera angle that shows your hands and arms clearly. The entire prescreening program should be memorized.
A major movement of at least 7 or 8 minutes’ length from the concerto chosen for the live round (see list below). For example, if playing Bartók in the live round, submit the 1st movement for prescreening; if playing Schnittke, submit the 2nd or 3rd movement; if playing Penderecki, submit a substantial (7–8 minute) stretch of the work; and so on.
With accompaniment.
Two movements from the Bach work chosen for the live round (see list below). Please omit any repeats.
The short unaccompanied work or movement from the 20th or 21st century chosen for the live round (see list below).
Live Audition (if advanced)
Entire live audition program should be memorized except item 2 in the list below.
Applicants will play:
An entire major concerto from the 20th or 21st century, such as Bartók, Walton, Hindemith
Der
Schwanendreher
, Penderecki, Schnittke, or Higdon. The concerto does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
An entire sonata or sonata-like work drawn from the 19th century or later, for example a Brahms sonata, Vieuxtemps Sonata Op. 36, Schumann Märchenbilder, Bax Sonata, Hindemith Sonata (1939), or Shostakovich Sonata. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
An entire unaccompanied work by J.S. Bach, drawn from either the Cello Suites or Violin Sonatas and Partitas.
A short, unaccompanied work or movement from the 20th or 21st century, for example a movement from a Reger suite or Hindemith solo sonata, a movement from the Ligeti Sonata, the Penderecki
Cadenza
, Joan Tower’s
Wild Purple
, or a caprice by Atar Arad. The piece does not have to be chosen from this list, but should be at a similar level of scope and difficulty.
Cello
Prescreening
Applicants should submit a video (recently recorded) of the following. Movements may be individual recordings, but each movement should be one uninterrupted recording.
A prelude plus another complete movement with repeats of a J.S. Bach suite
First movement with cadenza of one of the following concertos:
Barber
Bloch,
Schelomo
(It could end at the beginning of the e-minor section or until the Andante. Complete work is fine too.)
Dvorak
Elgar (1st and 2nd movements, OR 4th movement)
Haydn in C or D
Lalo
Prokofiev,
Sinfonia Concertante
(movement 1 or 2)
Saint-Saëns No. 1 (movements 1 and 2)
Schumann
Shostakovich No. 1 (movements 2 and 3, 2 and 4, or 3 and 4; 1st movement will not be accepted)
Shostakovich No. 2
Tchaikovsky,
Rococo Variations
(If the Fitzenhagen version of
Rococo Variations
is chosen, please play the Theme and Variations 1, 2, 3, and 7; if the original version of
Rococo Variations
is chosen, please play the Theme and Variations 1, 2, 3, and 4.)
Walton
A virtuoso piece. Examples include:
a fast movement from Boccherini A major Sonata, Locatelli, or Valentini
Faure Papillon
Paganini Moses Variations
Popper Elfentanz, Hungarian Rhapsody, or Spinning Song
Tchaikovsky Pezzo Capriccioso
a complete étude from Popper, Op. 73, or an étude by Piatti
First movement
with piano
of one of the sonatas by Beethoven or Brahms, or Schubert Arpeggione
Live Audition (if advanced)
For undergraduate applicants:
All prescreening requirements. The concerto selection and Bach must be from memory.
For graduate applicants:
a complete J. S. Bach suite
one of the following concertos, complete:
Barber
Bloch,
Schelomo
Dvorak
Elgar
Haydn in C or D
Lalo
Prokofiev,
Sinfonia Concertante
Saint-Saëns No. 1
Schumann
Shostakovich No. 1 or No. 2
Tchaikovsky,
Rococo Variations
Walton
a virtuoso piece (see guidelines in prescreening requirements)
one free-choice short piece or movement, accompanied or unaccompanied, from any time period. This selection is intended to showcase the skills of the applicant, and along with the other repertoire selections, demonstrate the applicant’s strengths as completely as possible.
one of the sonatas,
with piano
, by Beethoven or Brahms, or Schubert Arpeggione, complete.
Everything except the free-choice selection and Beethoven, Brahms, or Schubert is to be played from memory.
Double Bass
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live audition status.
Prescreening (updated 10/6/25)
Applicants should prepare a movement of a Bach cello suite and one other piece of choice that best exhibits their skills.
Live Audition (if advanced)
Applicants will play from memory:
A movement written before 1830, preferably from a solo work by Bach.
A movement written after 1830.
One other work from any period, which could be another movement from the required works above.The pieces may be originally written for Double bass or transcribed from another instrument. The three choices should show the strengths of the applicant as completely as possible.
In addition, two prepared excerpts from the standard orchestral literature will be required (music may be used for this portion only).
String Quartet
Prescreening
Please submit the following materials with your application:
A full group bio (or link to the quartet’s website) detailing information including the ensemble’s history, formal training, residencies, competitions, and awards
A full repertoire list
The pre-screening recording requirements are as follows:
Quartets must submit a high-quality audio-visual recording using the following repertoire guidelines. Selections should be contrasting in style.
A movement of a work from the standard classical repertoire
A movement of a work from the standard romantic repertoire
A movement or work from the period 1900-1975
A movement or work from the period 1975-present
The recording must be representative of the quartet’s current work, and the ensemble must be clearly visible.
Live Audition (If advanced)
The included repertoire should represent a variety of musical periods and styles. For the audition, the quartet should perform for approximately 45 minutes. The first selection is a movement of the group’s choice. Subsequent selections of pieces and movements will be made by the audition committee. Finally, there will be a 15-minute interview/discussion conducted by the audition committee. The quartet should be prepared to comment on the group’s background, goals, etc.
Timpani and Percussion
Updated August 2025
Prescreening
All applicants should submit a video that includes the following materials. Please note that two pieces for mallet instrument are required — one played with 2 mallets and the other with 4 mallets.
A movement of a work by J.S. Bach for either two or four mallets on marimba
A contemporary work for either two or four mallets (may be performed on marimba, vibraphone, or xylophone)
One timpani etude or solo that includes rolls
One classical snare drum solo or etude
Note
: This round has no orchestral excerpts and no rudimental solo. It can be one or multiple videos. You may submit four videos; however, no individual video(s) editing is allowed.
Live Audition
Applicants should demonstrate a knowledge of the fundamental techniques of percussion and timpani. They will be examined on timpani pitch recognition and technical skills such as rolls (final round only). Please note, two pieces for mallet instrument are required — one played with 2 mallets and the other with 4 mallets.
A movement of a work by J.S. Bach for either two or four mallets on marimba
A contemporary work for two or four mallets on marimba
Optional: An additional solo on vibraphone or xylophone
Two studies on snare drum – one classical and one rudimental
One study on timpani
Sight reading will be required
For applicants who are presently 18 years old or younger and completing high school, one orchestral excerpt on snare drum, xylophone, and timpani is optional.
Applicants must possess a good ear and be able to sing and recognize all intervals (final round only).
In addition to the above repertoire, any student applying in the following categories of post-secondary study
must
add orchestral excerpts as noted here
If you are transferring from a present level of undergraduate study, prepare 2 excerpts on snare drum, 2 excerpts on mallets, 2 excerpts on timpani
If you have already completed a bachelor’s degree, prepare 3 excerpts on snare drum, 3 excerpts on xylophone, 1 excerpt on glockenspiel, 3 excerpts on timpani
If you have already completed a master’s degree, prepare 4 excerpts on snare drum, 4 excerpts on xylophone, 2 excerpts on glockenspiel, 4 excerpts on timpani
Vocal Studies
Undergraduate (Bachelor of Music and Diploma)
All applicants in voice are required to submit a screening recording with application materials. Applicants must possess a high school diploma or equivalent by the time they enroll at Curtis
.
The following format types are accepted:
Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
Documents (.doc, .pdf, .xls)
Prescreening
Three repertoire selections – one selection in English, one aria, and one selection from German Lieder, Italian, or French art songs from any period.
Video recordings
should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you.
Pre-recorded
accompaniment is acceptable
.
Live Audition (if advanced)
Vocalists who audition live will be asked to perform up to four selections from memory, showing the character and quality of voice and musicianship:
one selection in English (not a translation)
three selections from the standard repertoire, German lieder, classic Italian songs, or French and English songs of any period
an aria from an opera or oratorio
Graduate (Master of Music, Post-Baccalaureate Diploma, Professional Studies Certificate)
All applicants in voice are required to submit screening
video
recordings
with application materials. Please see the Curtis website for all relevant deadlines.
The following format types are accepted:
Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf, .wmv)
Images (.bmp, .gif, .jpg, .jpeg, .png, .tiff)
Documents (.doc, .pdf, .xls)
Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB. Please upload each piece as its own file.
Prescreening
Three contrasting opera arias.
Videos
should include accompaniment and should show contrast in musical styles and tempos. Please make the best quality recording with the equipment available to you.
Pre-recorded
accompaniment is acceptable
.
Live Audition (if advanced)
Vocalists who audition live will be asked to perform, from memory, up to five contrasting arias from the standard operatic repertoire.
We encourage applicants to explore the repertoire from composers underrepresented in the canon when selecting their audition material. The two links below are for reference.
Institute for Composer Diversity Database
Music by Black Composers Database
Substitutions or exceptions to the audition repertoire are not permitted. While the choice of composition is important, audition performance carries the greater weight. Audition candidates may be asked to demonstrate their sight-reading ability. A knowledge of piano and music theory is desirable. Please reach out to a member of the admissions team at
admissions@curtis.edu
with any questions about specific repertoire and audition requirements.
Woodwinds
Applicants will demonstrate familiarity with all major and minor scales and arpeggios, and will be expected to demonstrate sight-reading ability with material chosen by the instructor.
Flute
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
Curtis no longer accepts flute applicants for the Post Baccalaureate program
.
Prescreening
Applicants should prepare a video recording of (at least) one movement from each of three contrasting pieces. Works with piano (or other instrumental) accompaniment should be performed with piano accompaniment.
Live Audition (if advanced)
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor. Applicants will play:
Three complete prepared pieces (all movements) in contrasting tempo and style
Three orchestral excerpts
Applicants should perform from memory if possible
Oboe
There will be no pre-screening. The live audition will take place in three rounds, the first two of which are blind. The last round will involve concerto playing, an interview, and sight-reading. A three-minute solo oboe composition by a Curtis composer will be compulsory for all applicants in the second round. A pianist will be provided. Candidates will prepare:
1a)
A Baroque slow movement of the candidate’s choice, three to six minutes in length. Please include all repeats.
1b)
For
undergraduate applicants
:
Pierre Sancan: Sonatine for oboe and piano, Mvt. 1
For
graduate applicants
:
Pierre Sancan: Sonatine for oboe and piano, Mvts. 2 and 3
2a)
For
undergraduate applicants
, choose one of the following:
Marina Dranishnikova: Poeme
Vivian Fine: Sonatina
Ulysses Kay: Suite in B for oboe and piano
Alyssa Morris: Four Personalities (Mvt. 3 and one other movement of choice)
Clara Schumann: Romances Op. 22, Pick 2/3
William Grant Still: Incantation and Dance
For
graduate applicants
, choose one of the following complete works:
Grażyna Bacewicz: Oboe Sonata
Jean Coulthard: Sonata
Madeline Dring: Three Piece Suite
Chiayu Hsu: Contrast for Oboe and Piano (Curtis composer)
Brian Nabors: Sonata for Oboe and Piano
Makoto Shinohara: Obsession
2b)
Compulsory piece (solo oboe) by a Curtis composer
Delfin Demiray: Propsi
(Click here to download the score)
3)
For the final round, one of the following complete works:
Marie Clemence de Grandval: Oboe Concerto
Lukas Foss: Oboe Concerto (Curtis composer)
Eugene Goossens: Oboe Concerto
Ruth Gipps: Oboe Concerto
Jennifer Higdon: Oboe Concerto (Curtis composer)
N. Hummel: Introduction, Theme, and Variations
Jacques Ibert: Sinfonia Concertante
J.W. Kalliwoda: Concertino in F
Franz Krommer: Concerto No. 2 in F, Op. 52
Ulysses Kay: Oboe Concerto
L.A. Lebrun: Concerto No. 1 in d minor
Jean-Marie Leclair: Oboe Concerto
Bohuslav Martinu: Oboe Concerto
Thea Musgrave: Night Windows (for oboe and strings)
Clarinet
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor.
Prescreening
The exposition of the first movement of the Mozart concerto (with piano accompaniment)
The following orchestral excerpts:
Mendelssohn,
A Midsummer Night’s Dream
(beginning to letter A, 6th bar of letter D to 19 bars after letter E)
Rimsky-Korsakov,
Capriccio Espagnol
, movement 1 (letter A to letter B, letter C for 21 bars)
Brahms, Symphony No. 3, movement 1 (bars 26-46), movement 2 (beginning for 22 bars)
Resphigi,
Pines of Rome
, Mvt. III (“I pini del Gianicolo”): Complete
Rimsky-Korsakov,
Scheherazade
, Op. 35, Mvt. II: Rehearsal F – Rehearsal G cadenza
Rimsky-Korsakov,
Scheherazade
, Op. 35, Mvt. III: Rehearsal G – Rehearsal H
Stravinsky,
The Firebird
Suite Mvt. III Variation of the Firebird: Complete
Live Audition (if advanced)
Applicants will play:
The Mozart clarinet concerto
Adolphus Hailstork’s Three Smiles for Tracy
Two contrasting pieces from the Rose Thirty-two Études
A prepared piece of the applicant’s choice
A 20th-century piece of the applicant’s choice
Bassoon
Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified of their live-audition status no later than one month prior to the audition date.
All applicants should possess a good ear and a sense of rhythm and tone. They will demonstrate familiarity with all major and minor scales and arpeggios. Applicants will also be expected to demonstrate sight-reading ability with material chosen by the instructor.
Prescreening
Movements 1 and 2 of a concerto by Mozart, Weber, or Hummel (expositions only; accompaniment is not required)
Two of the following orchestral excerpts:
Marriage of Figaro Overture (mm. 139 – 171)
Tchaikovsky, Symphony No. 4 (Mvt. 2, solo to end)
Tchaikovsky, Symphony No. 6 (Mvt. 1, opening solo)
Bolero (solo)
Rite of Spring (opening solos)
Scheherazade (Mvt. 2, solo and cadenzas)
Beethoven, Symphony No. 4 (Mvt. 4, mm. 15 – 25, 184 – 188, 300 – 303, 348 – end)
Firebird (Berceuse solo)
Shostakovich, Symphony No. 9 (solo from Mvts. 4 – 5)
Ravel, Piano Concerto (Mvt. 1, rhl. 9 – 10, and Mvt. 3, rhl. 14 – 16)
Live Audition (if advanced)
Choose the first two movements, (complete with cadenzas where applicable), of one the following:
Hummel: Concerto in F
Mozart: Concerto in B-Flat
Weber: Concerto in F
Choose one of the following (complete):
Jenni Brandon:
Colored Stones
Nancy Galbraith:
Sonata for Bassoon and Piano
William Grant Still:
Songs for Bassoon and Piano
Adolphus Hailstork:
Bassoon Set
Ulysses Kay:
Sonata for Bassoon and Piano
José Siqueira:
Drei Etuden (Three Etudes) for Bassoon and Piano
Jacqueline Wilson Dance Suite for Solo Bassoon
Choose three of the following orchestral excerpts:
Beethoven: Symphony No. 4 (mvt. 4, mm. 15-25, 184-188, 300-303, 348-end)
Mozart: Marriage of Figaro Overture (mm. 139-171)
Ravel: Bolero (Solo)
Ravel: Piano Concerto (mvt. 1, rehearsal number 9-10; mvt. 3, rehearsal number 14-16, both parts combined)
Rimsky-Korsakov: Scheherazade (mvt. 2, solo and cadenzas)
Shostakovich: Symphony No. 9 (solo from mvt. 4-5)
Stravinsky: Firebird (Berceuse solo)
Stravinsky: Rite of Spring (Opening solos)
Tchaikovsky: Symphony No. 4 (mvt. 2, solo to end)
Tchaikovsky: Symphony No. 6 (mvt. 1, opening solo)
Where do the auditions take place?
Live auditions are held on campus at 1726 Locust Street or at Lenfest Hall at 1616 Locust Street. Curtis does not hold regional auditions at this time.
What can I expect on the day of the audition?
Auditions consist of pre-recorded submissions, interviews, and in-person rounds during February and March. If in-person rounds are not possible, the admissions team will coordinate safe and equitable live virtual auditions. A final decision on the audition format will be made closer to the application deadline in early December.
You will have around 30 minutes of warm-up time in a designated room. Curtis student proctors will be running most of the logistics, under the supervision of the admissions team. Students are happy to answer any questions you may have about Curtis while you wait.
Should I memorize the music I’ll be playing in the audition?
It depends on the department for which you’re auditioning. The
Repertoire
section of this page outlines requirements for repertoire and memorization.
What repertoire do I need to play at my audition?
Audition repertoire varies by major department. The best way to determine the repertoire requirements is to visit the
Repertoire
section of this page.
How much time will I have to warm up at my audition?
In a typical year, each applicant may warm-up for 30 minutes in an assigned practice room before the audition. The audition proctors will take you to your practice room at your designated time. Please plan to arrive at least 10 minutes before your slotted audition time.
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