Audition Dates & Repertoire
Stockton Symphony
Peter Jaffe, Music Director & Conductor
updated 8/6/2025
For the following tenure-track positions:
PRINCIPAL OBOE
Auditions Saturday, August 30, 2025
Application deadline August 20, 2025
BASS TROMBONE & PRINCIPAL TUBA
Auditions Saturday, September 6, 2025
Application deadline August 27, 2025
PRINCIPAL TIMPANI
Auditions Sunday, September 7, 2025
Application deadline August 27, 2025
Audition repertoire for all instruments is listed below; scroll down for the appropriate repertoire.
Please send résumé and refundable $35 deposit to:
The Stockton Symphony Association
7400 Shoreline Drive, Suite 4, Stockton, CA 95219
Upon receipt of these items, qualified applicants will be sent excerpts and notification of scheduled audition times will be by telephone or email at least 48 hours prior to auditions.
48-hour cancellation notification required.
Refunds will be mailed five days following auditions.
ALL candidates must be prepared to show proof of citizenship or eligibility
to work in the United States at the time of audition.
Hal Willenborg, Personnel Manager
orchestrapersonnel@stocktonsymphony.org
Auditions are anonymous and screened. Stockton Symphony is an Equal Opportunity Employer. Candidates: please be advised that second-round auditions will be held the same day. In the event that a current contracted member of the Stockton Symphony wins the audition, the runner-up could be offered a section tenure-track position.
Repertoire
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities. Letters or numbers in bold and/or in brackets are rehearsal figures.
CELLO updated July 22, 2016. 3
PRINCIPAL FLUTE updated July 22, 2016. 4
2nd FLUTE / PICCOLO updated 11/21/23. 5
PRINCIPAL OBOE updated June 6, 2025. 5
3rd/UTILITY OBOE updated March 31, 2014. 6
BASSOON I & II updated 3/30/16. 8
FRENCH HORN I updated July 1, 2012. 8
FRENCH HORN II updated May 22, 2007. 9
FRENCH HORN III updated April 16, 2017. 9
FRENCH HORN IV updated June 3, 2023. 10
TRUMPET I updated April 19, 2015. 10
TRUMPET II updated May 22, 2007. 11
TROMBONE II updated 3/30/16. 12
BASS TROMBONE updated June 10, 2025. 13
TUBA updated July 16, 2025. 13
TIMPANI updated August 6, 2025. 14
VIOLIN updated 11/28/22
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice. Excerpts will be called from behind a screen from among the following possibilities. All excerpts are Violin I unless otherwise specified.
For most string excerpts, the penciled bowings are markings we have used in the past. However,
candidates are free to use whatever bowings they wish for auditions.
Amy Beach “Gaelic” Symphony mvt II: m. 27 through letter B
Brahms Piano Concerto No. 1 in D minor Violin II: mvt III: E – m. 263
Brahms Symphony No. 1 mvt I: intro to m. 29
Brahms Symphony No. 2 mvt I: mm. 118–156 (E – F)
Mozart Symphony No. 35 mvt I: mm. 1–94 (exposition)
Schumann Symphony No. 2 mvt II: opening to Trio I
R. Strauss Don Juan opening through 9 bars before D
For Concertmaster, Associate & Assistant Concertmaster, Principal and Assistant Principal 2nd, add:
Brahms Symphony No. 1 mvt II: mm. 90–end (solo, pickup to E–end)
Rimsky-Korsakov Capriccio espagnol mvt I: (Alborada): solo 15 bars after letter C to end movement
mvt III: (Alborada): letter H to end of movement
mvt IV: (Scena e Canto gitano): opening cadenza to letter L
VIOLA updated July 1, 2024
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice. Excerpts will be called from behind a screen from among the following possibilities.
For most string excerpts, the penciled bowings are markings we have used in the past. However, candidates are free to use whatever bowings they wish for auditions.
Beethoven Symphony No. 3 mvt III: opening through m. 73
Berlioz Roman Carnival Overture pickup to third measure of 1 through
second measure of 4
Brahms Symphony No. 2 mvt I: E to m. 137
Mozart Symphony No. 35, “Haffner” mvt I: mm. 1–94 (exposition)
Sibelius Symphony No. 3 mvt I: 7 through 2nd measure of 10
R. Strauss Don Juan opening through 5 bars before D (cut from m. 9 to pickup to m. 21)
Tchaikovsky Serenade for Strings mvt II: D through 2nd measure of E
For Principal and Assistant Principal Viola, add:
Vaughan Williams Fantasia on a Theme
by Thomas Tallis letter I to 4 bars before L
R. Strauss Don Quixotesolos rehearsal 14 to 18, 26 to 34
CELLO updated July 22, 2016
Candidates begin with a solo of candidate’s choice: either the exposition of a standard concerto or the Bach Eb or D major Prelude. Excerpts will be called from behind a screen from among the following possibilities.
Candidates are free to use whatever bowings they wish for auditions.
Beethoven Symphony No. 5 mvt II: beginning through m. 106 (theme and first two variations)
Brahms Symphony No. 2 mvt II: beginning to A
Debussy La Mer 2 bars before 9 through 6th bar of 9
Mendelssohn A Midsummer Night’s Dream Scherzo: N – O
Mozart Symphony No. 35, “Haffner” mvt IV: mm. 134–181
R. Strauss Don Juan opening through 5 bars before D
For Principal, Associate, and Assistant Principal Cello add:
Brahms Piano Concerto No. 2 mvt III: solo; m. 71 (D) – end
Rossini William Tell Overture Solo (Violoncello I) opening – m. 48
BASS updated July 22, 2016
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
For most string excerpts, the penciled bowings are markings we have used in the past. However,
candidates are free to use whatever bowings they wish for auditions.
Mozart Figaro Overture mm. 1–24
Beethoven Symphony No. 5 mvt II: 114 (C) – 125
mvt III: mm. 1–96 (A); mm. 141–218 (Trio)
Brahms Symphony No. 1 mvt I: mm. 161–189
(E – 8 bars before F)
Mahler Symphony No. 2 mvt I opening – 2 bars before [2]
Prokofiev Lieutenant KijeSuite mvt II (Romance): 15 – 16
R. Strauss Don Juan A – D, F – G, 2 bars before R – S
For Assistant Principal, add:
Mahler Symphony No. 1 mvt III: opening solo
PRINCIPAL FLUTE updated July 22, 2016
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice. Excerpts will be called from behind a screen from among the following possibilities.
Beethoven Leonore Overture No. 3 mm. 328-360
(between E & F)
Brahms Symphony No. 4 mvt IV: mm. 93-105 (between D & E)
Debussy Prélude à l’après-midi d’un faune opening t opening through 3
Mendelssohn Midsummer Night’s Dream Scherzo: mm. (12 bars before P -end)
Prokofiev Peter and the Wolf 2-6, 51-52
Ravel Daphnis et Chloé 176 – 179
All common variants of which accidentals are played in the opening scale are acceptable.
Rimsky-Korsakov Capriccio espagnol mvt IV: solo after L
Stravinsky Petrushka 31-32 (1911 version) or
60-61 (1947 version)
2nd FLUTE / PICCOLO updated 11/21/23
Auditions begin with the first movement of Mozart’s G Major Flute Concerto, no cadenza required. Excerpts will be called from behind a screen from among the following possibilities. Candidates prepare the following excerpts from 1st flute, 2nd flute, and piccolo parts:
1st Flute
Beethoven LeonoreOverture No. 3 opening through m. 36
mm. 328–360 (between E & F)
Mendelssohn Midsummer Night’s Dream Scherzo: mm. 328 – end
(12 bars before P –end)
2nd Flute
Bartók Concerto for Orchestra mvt II complete
Berlioz Symphonie fantastique mvt III: 14 bars after 37 through 5 after 38
mvt IV complete
Brahms Symphony No. 2 mvt II: mm. 21 – 31
mvt IV: mm. 86 – downbeat of 142
Debussy Prélude à l’après-midi d’un faune 10 through 2 bars before 11
Dvořák Symphony No. 9 mvt I: 8 bars before 9 through 1 after 9;
9 bars after 10 – 17 bars after 10;
12 – 8 bars after 12
Mendelssohn Symphony No. 4 mvt II: opening – m. 35
mvt IV: opening – m. 34
Ravel Ma mère l’oye Suite complete, including Piccolo parts
Piccolo
Ippolitov Caucasian Sketches No. 4 : Procession of the Sardar :
opening – B
Rossini SemiramideOverture 5 bars after G – 3 after H; 14 after T – U
Shostakovich Symphony No. 6 mvt I: 8 – 10
Tchaikovsky Symphony No. 4 mvt III: mm. 162 (after E) – 170;
mm. 194 –203 (F – G)
PRINCIPAL OBOE updated June 6, 2025
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice. Excerpts will be called from behind a screen from among the following excerpts from 1st Oboe parts:
Amy Beach “Gaelic” Symphony mvt II opening – Allegro vivace
Brahms Violin Concerto mvt II: mm. 3–32
Debussy La mer mvt II: [17] – [18]; [25] – [26]
Arturo Márquez Danzón No. 2 mm. 19–downbeat of m. 34
Mendelssohn Symphony No. 3 mvt II: mm. 33–100
(A – 13 bars after C)
Florence Price Symphony No. 1 mvt III (Juba Dance)
mm. 117–136
Ravel Le tombeau de Couperin opening – 2
Rossini Overture to La scala di seta pickup to m. 6 – downbeat of
m. 21; pickup to m. 38 to m. 54
(may use own articulations)
William Grant Still Afro-American Symphony mvt II: solo at [15] for 8 bars;
solo at [19] for 8 bars
R. Strauss Don Juan opening to B; L – N
Stravinsky Pulcinella Suite Serenata: [8] – [10];
Gavotta & Variation 1a
(complete; skip repeats)
Tchaikovsky Symphony No. 4 mvt II: opening solo;
mvt III: mm. 133–144
(Meno mosso before E)
3rd/UTILITY OBOE updated March 31, 2014
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities. Candidates prepare the following excerpts from 1st oboe, 2nd oboe, and English Horn parts:
1st Oboe
Brahms Violin Concerto mvt II: mm. 3–32
Brahms Symphony No. 1 mvt II: mm. 17–23; 38–43
Mendelssohn Symphony No. 3 mvt II: mm. 33–100
(A – 13 bars after C)
Ravel Le tombeau de Couperin opening – 2
R. Strauss Don Juan opening to B; L – N
Tchaikovsky Symphony No. 4 mvt II: opening solo; mvt III: mm. 133–144
(Meno mosso before E)
2nd Oboe
Brahms Variations on a Theme by Haydn opening chorale: mm. 1–29
Berlioz Symphonie fantastique mvt I: last 16 measures
Dvořák Cello Concerto mvt II: opening – 4; m. 136 – end
(8 after 7 – end)
English Horn
Berlioz Roman Carnival Overture m. 21 through 4
(solos in introduction)
Berlioz Symphonie fantastique mvt III: opening – 37
CLARINET updated 3/30/16
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
Beethoven (Bb) Symphony No. 6 mvt II: mm. 68-78 (1 bar before D – E)
mvt III: mm. 122 (after A) – 133
Brahms Symphony No. 3 mvt I: mm. 36 (8 bars before C) – 46 and
149-155
mvt II: mm. 1-22
Kodály (A) Galánta Dances mm. 31-65; 571-579
Mendelssohn (Bb) Midsummer Night’s Dream Scherzo: D – G
Ravel (A) Daphnis et Chloé 155 – 159; 201 – 204
Rimsky-Korsakov Capriccio espagnol mvt I: A – B mvt III: 11 bars after K – end
Stravinsky Petrushka 58 – 59, 100 – 101 (1911 version),
or 112 – 113, 188 – 190 (1947 version)
Tchaikovsky Symphony No. 6 mvt I: solos at G and T
BASS CLARINET
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
Franck Symphony in D minor mvt II: m. 199 (19 before letter O – 239
(4 after Q)
Grofé Grand Canyon Suite mvt 3 “On the Trail” 2 – 3; 8 before 13(Presto) – 4 after 13
Khachaturian Piano Concerto mvt II : 220– end
Ravel La Valse 4 before 9 – 12; 63 – 66; 77 – 80; 88 – 2 after 93
Strauss, R. Till Eulenspiegel 9 – 11; 11 before 15 – 16; 31 32
BASSOON I & II updated 3/30/16
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from among the following possibilities; auditions will be behind a screen. All excerpts are Bassoon I parts unless otherwise specified.
Beethoven Symphony No. 4 mvt IV: mm. 184 (9 bars before E) – E
Brahms Violin Concerto 2nd Bassoon part: mvt II: opening—m.32
Dukas Sorcerer’s Apprentice 7 – 8
Mozart Figaro Overture mm. 1-24; 101-123 (B – C)
Ravel Bolero 2 – 3
Rimsky-Korsakov Scheherazade mvt II: solo until A; L – M
.
Stravinsky Firebird (1919 Suite) Berceuse 1 – 8
Le sacre du printemps opening – 4
Tchaikovsky Symphony No. 4 mvt II: solo mm. 274
(1 bar before F) – end
Symphony No. 6 mvt I: opening 12 bars
mvt IV: B – 3 bars before C
(mm. 30 – 36)
Wagner Tannhäuser Overture 2nd Bassoon part: opening –A
FRENCH HORN I updated July 1, 2012
Auditions begin with the Richard Strauss Horn Concerto No. 1 first movement: beginning through letter D. Excerpts will be called from among the following possibilities; auditions will be behind a screen. All excerpts are Horn I parts unless otherwise indicated.
Beethoven Symphony No. 7 mvt I: mm. 89 (B) – 101, mm. 423 – end
Symphony No. 9 4th horn
mvt III: mm. 82 (pickup to Adagio) – 99 (12/8)
Brahms Symphony No. 2 mvt I: mm. 454 (8 bars after M) – 477
Symphony No. 3 mvt III: mm. 98 (F) – 110
Mendelssohn A Midsummer Night’s Dream mvt VII (Nocturne): opening—m. 34
Shostakovich Symphony No. 5 mvt I: 17 – 21, 39 – 41
Strauss, Richard Till Eulenspiegel opening – 1, 5 bars after 29 – 30, 8 bars
after 30 – 2 bars after 33, 37 – 4 bars
before 38
Tchaikovsky Symphony No. 5 mvt II: mm. 8–28
Wagner Siegfried short horn call
FRENCH HORN II updated May 22, 2007
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
Beethoven Symphony No. 3 mvt III 2nd horn: trio, mm. 167 – 197
Beethoven Symphony No. 9 mvt III 4th horn: mm. 82 (pickup to Adagio) – 99 (12/8)
Haydn Symphony No. 31 mvt II: obbligato variation
Mendelssohn Symphony No. 3 mvt III 3rd horn: mm. 75 – 95
Shostakovich Symphony No. 5 mvt I 1st horn: 17 – 21
FRENCH HORN III updated April 16, 2017
All candidates will begin with the prescribed solo piece:
Mozart Horn Concerto No. 2
in E-flat major, K. 417 mvt I: A – 7 bars after D
Orchestral excerpts will be called from behind a screen from among the following possibilities.
Beethoven Symphony No. 7 Horn I mvt I: mm. 89 (B) – 101,
mm. 423 – end
Brahms Academic Festival Overture Horn III mm. 176–188 (G)
Brahms Piano Concerto No. 1 Horn III mvt I: mm. 199–215
Brahms Symphony No. 2 Horn I mvt I: mm. 454–477
Dvořák Symphony No. 9 (New World) Horn III Scherzo: 6 bars before 3 to
16 bars after 3
Mendelssohn Symphony No. 3 (Scottish) Horn III mvt II: mm. 48–67 (B)
mvt III: mm. 74–98
Shostakovich Symphony No. 5 Horn I mvt I: 17 – 21, 39 – 41
Strauss Till Eulenspiegel Horn I opening – 1
Horn III 13 bars before 29 – 1 bar before
30, 9 bars after 30 – 32, 37 – 4 bars before
38
Tchaikovsky Symphony No. 5 Horn I mvt II: mm. 8–28
Wagner Siegfried Horn I short horn call
FRENCH HORN IV updated June 3, 2023
All candidates will begin with the prescribed solo piece:
Mozart Horn Concerto No. 3
in E-flat major, K. 447 mvt I: exposition only (mm. 28–69)
Orchestral excerpts will be called from behind a screen from among the following possibilities.
All excerpts are Horn IV unless otherwise indicated.
Beethoven Symphony No. 3 mvt III Horn II in E♭ Trio: pickup to m.167–m.197
Beethoven Symphony No. 9 mvt III in E♭: mm. 82 (pickup to Adagio) – m. 121
Brahms Symphony No. 1 mvt III in H basso: mm. 83–111
Brahms Symphony No. 4 mvt II in C: mm. 1–5
Mahler Symphony No. 1 mvt III in F: 4 bars after [13] – [15]
mvt IV in F: 3 bars after [46] – 5 bars after [46]
Mahler Symphony N. 3 mvt I in F: pickup to [55] – 9 bars after [56]
Mendelssohn Symphony No. 3 mvt II in F: 16th bar after A – B (mm. 48–67)
and 4 bars before F – 4 bars after G (mm. 189–229)
Florence Price Symphony No. 1 mvt III (Juba Dance) in F: mm. 80–97
Prokofiev Romeo and Juliet
Suite No. 2 mvt VII Horn II in F:[59] – [61]
Shostakovich Symphony No. 5 mvt I in F:3 bars after [17] – [21]
Strauss, Richard Don Quixote in F: Variations 7 and 8, complete
Strauss, Richard Till Eulenspiegel in F: 4 bars before [36] – 4 bars before [38]
Tchaikovsky Symphony No. 5 mvt IV Horn II in F: mm. 1–41
TRUMPET I updated April 19, 2015
Auditions begin with a solo (concerto, sonata, etude, etc.) of the candidate’s choice, to be played on Bb or C trumpet, demonstrating both technical and lyrical sections. Orchestral excerpts will be called from behind a screen from among the following possibilities:
Bach Magnificat mvt I: opening – m. 31
Brahms Academic Festival Overture mm. 63-88 (17 bars before D)
Gershwin Piano Concerto mvt II opening – 1 and 8 – fourth bar of 9
Mahler Symphony No. 5 mvt I: opening solo
Mussorgsky/Ravel Pictures mvt I: opening – 2;
mvt VI (Goldberg and Schmuyle): 58 –62
Ravel Piano Concerto in G mvt I: 2 – 3
Rimsky-Korsakov Capriccio espagnol mvt IV: opening solo
Rimsky-Korsakov Scheherazade mvt III: G – H
mvt IV: Q – R
Stravinsky Petrushka (1911 version) 69-70, 71-72, 132-end
Wagner Prelude to Parsifal opening – 3
TRUMPET II updated May 22, 2007
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities. All excerpts are Trumpet I parts unless otherwise indicated.
Bartok Concerto for Orchestra 2nd Trumpet mvt I: 39 – 50, 328 – 396
mvt II: 90 – 120
mvt V: 201 – 229, 549 – 573
Brahms Academic Festival Overture mm. 63-88 (17 bars before D)
Debussy Nocturnes mvt II (Fêtes): 10 – 11
Mahler Symphony No. 5 mvt I: opening solo
Mussorgsky/Ravel Pictures mvt I: opening – 2;
mvt VI (Goldberg and Schmuyle): 58 –62
Respighi Pini di Roma mvt II: offstage solo between 10 & 11
Rimsky-Korsakov Capriccio espagnol mvt IV: opening solo
Rimsky-Korsakov Scheherazade mvt III: G – H
mvt IV: Q – R
Tromba II, mvt II: E – F
Stravinsky Petrushka 69-70, 71-72, 132-end (1911 version),
or 134-139, 140-143, 265-end
TROMBONE I updated 7/1/22
Auditions begin with Ferdinand David’s Trombone Concertino 1st movement: exposition and cadenza. Excerpts will be called from behind a screen from among the following possibilities. All excerpts are 1st Trombone unless otherwise specified.
Berlioz Symphonie fantastique mvt IV: 56 – 6 after 57
Mahler Symphony No. 3 mvt I: pickup to 15 – 17
pickup to 33 – 2 after 34
Mozart Requiem tenor trombone part: Tuba mirum (all)
Ravel Bolero solo 10 –11
Rossini William Tell Overture “Storm scene” mm. 92 –131 (C – 9 after D)
Rossini Overture to La Gazza Ladra F (275 – 291) and I (432 – Più allegro at 446)
Saint-Saëns Symphony No. 3 (“Organ”) 1st Part: Q – S (366–400)
Schumann Symphony No. 3 mvt IV (all)—to be played on alto trombone
R. Strauss Till Eulenspiegel mm. 553 –573 (5 bars before 37 – 4 bars before 38)
Verdi Nabucco Overture: mm. 1–16
Wagner Lohengrin prelude to Act III: mm. 32–49 (B – C)
Wagner Tannäuser Overture: all
Wagner Die Walküre Ride of the Walküres (opening minor call and first major call)
TROMBONE II updated 3/30/16
Auditions begin with Grøndahl’s Concerto for Trombone: first movement, first page. Excerpts will be called from among the following possibilities.
Bartók Concerto for Orchestra 2nd trombone: mvt I : mm. 316–396
Bartók Miraculous Mandarin Suite 2nd trombone: 4 bars before 60 –
3 bars before 62 ; and 71 – 74
Brahms Symphony No. 4 2nd trombone: mvt IV: mm. 113 (E) – 128
Mahler Symphony No. 5 2nd trombone part: mvt II: 8 bars after 24 –
25, mvt III: 13 bars after 15 to 17
Mozart Requiem tenor trombone: Tuba mirum (all)
Ravel Bolero 1st trombone solo 10 –11
Rimsky-Korsakov Russian Easter Overture 2nd trombone part: M – N
Rimsky-Korsakov Scheherazade 2nd trombone part: mvt II: 5 after D to F,
mvt IV: K – M
Rossini La Gazza Ladra Overture (Italian version, one trombone part)
Passages at C, F and I.
Rossini William Tell Overture 2nd trombone part: “Storm scene” mm. 92
–131 (C – 9 after D)
R. Strauss Alpine Symphony 3rd trombone: 3 bars before 80 –
5 bars after 80
R. Strauss Ein Heldenleben 2nd trombone: 2 bars before 61 – 2 bars
before 66, and6 bars after 68 – 74
Wagner Die Walküre 2nd trombone: Ride of the Walküres (B major section)
Wagner Lohengrin: Prelude to Act III 2nd trombone: B – 3 bars before C
BASS TROMBONE updated June 10, 2025
All candidates will begin with the prescribed solo piece:
J.S. Bach: Sarabande from Cello Suite No. 5 – no repeats
Orchestral excerpts will be called from behind a screen among the following possibilities.
Berlioz Hungarian March (Rakoczy March)
from The Damnation of Faust 6 bars before 4 – 2 bars after 5
Brahms Symphony No. 4 mvt IV: mm. 113 (E) – 128
Franck Symphony in D minor mvt III: N – 18 bars after N
Haydn The Creation: No. 26 Achieved is
the Glorious Work Beginning until C
Mahler Symphony No. 5 mvt II: 9 bars after 24 – 25
mvt III: 15 – 17
Schumann Symphony No. 3, “Rhenish” mvt IV: mm. 1–18
Wagner Das Rheingold Entrance of the Gods m. 1021 to end
Wagner Die Walküre Ride of the Valkyries (ALL)
Strauss, Richard Ein Heldenleben Battle Scene Rehearsal 55 to 74
TUBA updated July 16, 2025
All candidates will begin with the prescribed solo piece: Vaughan Williams Concerto: mvt I: beginning to 5
Orchestral excerpts will be called from behind a screen from among the following possibilities
Berlioz Hungarian March (Rakoczy March)
from The Damnation of Faust 4 – 2 bars after 5
Hindemith Symphonic Metamorphoses mvt II
Moussorgsky (arr. Ravel) Pictures at an Exhibition mvt IV. Bydlo (entire mvt)
Prokofiev Symphony No. 5 mvt I: 3 – 6
Respighi Fountains of Rome 12-14
Stravinsky Petrushka 189-191, 240-242 (1947 version)
Wagner Eine Faust-Overtüre mm. 1-3; T – U
Wagner Meistersinger Overture mm. 158-188 (I – L)
Wagner Ride of the Valkyries
from Die Walküre pickup to 8 bars before 11 to 12
TIMPANI updated August 6, 2025
Excerpts will be called from behind a screen from among the following possibilities.
Bartók Concerto for Orchestra mvt IV: mm. 42–50
Beethoven Symphony No. 5 mvt III: C (m. 324)—
mvt IV: 4 bars before A (m. 22)
Beethoven Symphony No. 7 mvt I: 9th bar of N (m. 409) to end of mvt
Beethoven Symphony No. 9 mvt I: mm. 16–35
mvt II : F – H (mm. 248 – 296)
Brahms Symphony No. 1 mvt IV: 2 before B – 9 after B
(mm. 28–38) and m. 419 to end
Elgar Enigma Variations Variation VII (all)
Hindemith Symphonic Metamorphoses mvt II : 4 after S – T and
5 after V – 8 after W
Mozart Symphony No. 39 mvt I: beginning – m. 82
William Schuman New England Triptych mvt I : beginning – m. 13
Stravinsky Rite of Spring Timpani 1:181 to end
Tchaikovsky Symphony No. 4 mvt I: 7 after R – 3 before U
(mm. 313–352)
Tchaikovsky Romeo and Juliet upbeat to E – F
John Williams Star Wars Main Title mm. 1–19 ; mm. 36–61
PERCUSSION updated 7/1/22
In lieu of a solo, all candidates will be requested to play a long snare drum roll demo lasting approx. 30–40 seconds. Suggested approach: begin and sustain pp for 5 seconds, crescendo for 10 seconds, sustain ff for 10 seconds, diminuendo for 5 seconds, sustain pp for 10 seconds. Candidates should also be prepared to demonstrate cymbal crashes at various dynamic levels. Excerpts will be called from behind a screen from among the following possibilities.
Cymbals
Rachmaninoff Piano Concerto No. 2 mvt III:(32) – Allegro scherzando
Tchaikovsky Overture to Romeo and Juliet m. 143 [E] – m. 160 [F]
Tchaikovsky Symphony No. 4 mvt IV: [G] – end
Glockenspiel
Dukas The Sorcerer’s Apprentice [17] – [24]
Mozart Magic Flute Act I Finale, mm. 293–325
Snare Drum
Bartók Concerto for Orchestra mvt II complete
Prokofiev Lieutenant Kije Suite mvt I: I – III
Rimsky-Korsakov Scheherazade mvts III & IV complete
Shostakovich Symphony No. 10 mvt II complete
Tambourine
Bizet Carmen (Entr’acte) Allegro vivo to end
Dvořák Carnival Overture [Q] to end
Vibraphone
John Williams Escapades mvt III: m. 126–m. 181 downbeat
Xylophone
Kabalevsky Overture to Colas Breugnon Presto
Gershwin Overture to Porgy and Bess Allegro con brio
Shostakovich Polka from Golden Age Suite Opening section
HARP updated 5/23/22
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
Berlioz Symphonie fantastique ALL of mvt II (harp I and II)
Ravel Piano Concerto, G Major 22 – 24
Ravel Tzigane ALL
Tchaikovsky Nutcracker Waltz of the Flowers cadenza
Tchaikovsky Swan Lake cadenza
KEYBOARD
Auditions begin with a solo (concerto, sonata, etc.) of the candidate’s choice unless a specific solo is specified. Excerpts will be called from behind a screen from among the following possibilities.
Stravinsky Petrouchka ALL