Applicants have the option of auditioning live or submitting a recorded audition.

We are not able to offer feedback on live or recorded auditions due to the volume of applicants.

Applicants will be notified of acceptance by e-mail only on or before March 18, 2013.

Live Audition - Deadline to Apply is January 21, 2013

NOTE: Percussion live auditions will only be held in Houston, Boston, Cleveland, Chicago and Los Angeles.

Starting on November 1, 2012, the Texas Music Festival will accept applications for live auditions ONLINE ONLY through our ArtsApp portal at www.artsapp.com/txmusicfestival. Please register and submit your application by January 21, 2013. Live audition slots fill up quickly and are scheduled on a first-come, first-served basis.

 Please contact ArtsApp if you have problems with submitting your application. The fee for submitting your application and audition via ArtsApp is $70 per application submitted, payable by credit card or PayPal on the ArtsApp website.

Upon receipt of application, applicants will be contacted by the TMF office to schedule a live audition. All live auditions are recorded for submission to TMF faculty via ArtsApp.

TMF 2013 live auditions will be held in the following cities:

• New York, NY - FULL.  Please select another city or submit a recorded audition. 
  February 2, 2013
  Steinway Hall
  109 W. 57th St.
  New York, NY 10019
  Directions to Steinway Hall
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  The Theodore and William rehearsal rooms will be used as warm-up rooms.
  Live auditions will be held in the Henry Z. Steinway rehearsal room.

• Houston, TX - FULL.  Please select another city or submit a recorded audition. 
  February 6, 2013
  University of Houston
  Moores School of Music
  Directions to UH
  Metered parking is available in Lot 16
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  Live auditions will be held in MSM Room 160.
  Rooms 242, 244 and 248 will be used as group warm-up rooms.

• Boston, MA - FULL - Please select another city or submit a recorded audition. 
  February 9, 2013
  Boston University
  School of Music
  Directions to BU
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  Live auditions will be held in The Marshall Room.
  A group warm-up room will be available on the first floor.

• Boston, MA - Percussion Live Auditions Only
  February 10, 2013
  Boston University
  College of Fine Arts - School of Music
  Directions to BU
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  Live auditions will be held in Percussion Suite Room G
  A group warm-up room will be available.

• Houston, TX - Percussion Live Auditions Only
  February 16, 2013
  University of Houston
  Moores School of Music
  Directions to UH
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  Live auditions will be held in MSM Room 185.
  Room 190 will be used as a group warm-up room.

• Cleveland, OH - FULL - Please select another city or submit a recorded audition. 
  February 16, 2013
  Cleveland Institute of Music
  Directions to CIM
  Parking Information (please note that CIM no longer offers free parking on Hazel Rd.)
  Non-CIM applicants must arrive no earlier than 30 minutes prior to assigned audition time and must check in at the CIM North Security Desk upon arrival.
  Live auditions will be held in Room 208. Percussion auditions will take place in Percussion Studio TBD.
  Warm-up will take place in assigned practice rooms located on the lower level of the building.

• Chicago, IL - FULL.  Please select another city or submit a recorded audition. 
  February 17, 2013
  Roosevelt University
  Chicago College of Performing Arts (CCPA)
  Directions to Roosevelt University
  Instructions on how to find audition and warm-up rooms & CCPA Floor Map.
  Please arrive no earlier than 20 minutes prior to your scheduled audition time.
  Live auditions will be held in Opera Rehearsal Room 1450. 
  Percussion live auditions will take place in the Auditorium Building Room 1080.
  One assigned group warm-up room will be available in Room 964/Marks Hall.

• Los Angeles, CA - FULL.  Please select another city or submit a recorded audition. 
  February 23, 2013
  University of Southern California
  Thorton School of Music
  Directions to USC
  Please arrive no earlier than 20 minutes prior to your scheduled audition time and note that the live auditions will take place in a different building than the warm-up room.
  Live auditions will be held in CSS 138A, located in the Lloyd Building, next to Raubenheimer Music Building.
  Percussion warm-up room available in BMH 113, located in Booth Hall, next to Raubenheimer Music Building.
  Non-percussion group warm-up room available in MUS 102B, located in Raubenheimer Music Building.

Recorded Audition - Deadline to Apply is February 25, 2013

Starting on November 1, 2012, the Texas Music Festival will accept applications and recorded auditions ONLINE ONLY through our ArtsApp portal at www.artsapp.com/txmusicfestival. Please register and submit your application and audition materials before midnight (PST) on February 25, 2013. 

PLEASE NOTE: Applicants who wait to apply until the deadline may experience siginificant delays when uploading their audition materials.

ArtsApp accepts the following format types:

• Audio (.mp3)
• Video (.asf, .avi, .flv, .mov, .m4v, .mp4, .mpg, .mvb, .swf ,.rm, .wmv)

The total porfolio size needs to be under 10 GB, with a maximum file size of 2 GB. Please upload each excerpt for your instrument as its own file. The fee for submitting your application and audition via ArtsApp is $70 per application submitted, payable by credit card or PayPal on the ArtsApp website. For technical support with your ArtsApp application and recorded audition, please send an email to support@artsapp.com or refer to ArtsApp's FAQ page.

Audition Requirements

• Each instrument requires specific excerpts and solos. NOTE: Accompaniment is not required for solos.
• For players of auxiliary instruments (Piccolo, English horn, E-flat Clarinet, Bass Clarinet and Contrabassoon), please note that specific excerpts are listed for these instruments. Although you are not required to audition on auxiliary instruments, it is encouraged.
• Percussion applicants submitting a recorded audition are required to use video format only. Audio files of excerpts will not be accepted.

Please make a selection:

• Strings
• Woodwinds
• Brass
• Harp
• Percussion

Downloadable/printable excerpts require the free Adobe Reader.

Strings

Violin

Solos: One movement of solo Bach and one additional movement from a standard concerto or equivalent piece.

Excerpts (printable version »):

• Strauss Don Juan

  Entire first page

• Prokofiev Symphony No. 5

  Movement III: Rehearsal Number 72 – 2 measures after Rehearsal Number 73
  Movement IV: Rehearsal Number 81 - Rehearsal Number 83

• Tchaikovsky Symphony No. 5
  

  Movement II: 5 measures after Letter I - 8 measures after Letter K

Viola 

Solos: One movement of solo Bach and one additional movement from a standard concerto or equivalent piece.

Excerpts (printable version »):

• Beethoven Symphony No. 5

  Movement II: measures 1 – 10

• Mendelssohn Scherzo from A Midsummer Night's Dream

  Beginning – Letter D

• Strauss Don Juan

  Beginning – 9 after Letter B

Cello

Solos: One movement of solo Bach and 3-5 minutes of a standard concerto movement.

Excerpts (printable version »):

• Beethoven Symphony No. 5

  Movement II: measures 1 – 10; 49 – 59; 98 – 106

• Mozart Symphony No. 35 

  Movement IV: measures 134 – 197

• Strauss Don Juan

  Measures 1 – 9
  Letter C – Letter D

Double Bass

Solos: Two works in contrasting styles from standard solo repertoire (single movements may count as one work).

Excerpts (printable version »):

• Beethoven Symphony No. 9

  Movement IV: Recitative and Choral – measure 115

• Brahms Symphony No. 2

  Movement IV: beginning – 15 after Letter A

• Mozart Symphony No. 40

  Movement I: melody before Letter C – 5 measures after Letter C

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Woodwinds

Flute

Solos: Exposition from either Mozart D or G Major Concerto.

Excerpts (printable version »):

• Beethoven Symphony No. 7

  Movement I: 19th measure after Letter A (start on the C-natural, 2nd 16th of the measure) - 4 measures before Letter B (end on the half note C-natural)

  Pick-up note to the Vivace (11 measures after Letter B) and continue for 26 measures to fermata D-natural.

• Mendelssohn Scherzo from A Midsummer Night's Dream

  2 before Letter P – 23 after Letter Q

• Ravel Daphnis et Chloé 

  Suite II: Rehearsal Number 176 – Rehearsal Number 179

Piccolo

Excerpts (printable version »):

• Ravel Mother Goose Suite 

  Rehearsal Number 1 – 5 measures after Rehearsal Number 2

• Rossini Semiramide Overture

  Third Excerpt: 8 before Letter U – Letter U

Oboe

Solo:

• Mozart Concerto for Oboe in C Major, K.314:

  Movement I – Exposition

  Movement II – beginning to measure 40

Excerpts (printable version »):

• Mahler Symphony No. 7

  Movement II: pick-up to Rehearsal Number 76 – 5th measure after Rehearsal Number 77
  Pick-up to Rehearsal Number 89 – Rehearsal Number 91

• Prokofiev Symphony No. 5

  Movement I: Rehearsal Number 6 – Rehearsal Number 7
  Movement II: Rehearsal Number 36 – Rehearsal Number 37

• Strauss Don Juan

  Opening – Letter B
  Letter L – Letter O

• Stravinsky The Rite of Spring

  Rehearsal Number 9 – Rehearsal Number 12
  Rehearsal Number 80 – Rehearsal Number 84

English horn

Excerpts (printable version »):

• Stravinsky The Rite of Spring

  Rehearsal Number 2 – Rehearsal Number 4
  Rehearsal Number 6 – Rehearsal Number 8
  Rehearsal Number 129 – Rehearsal Number 131

Clarinet  

Solo:

• Mozart Clarinet Concerto in A major, K.662

  Exposition

Excerpts (printable version »):

• Beethoven Symphony No. 6

  Movement I: measures 418 – 438 and 476 – 482
  Movement II: measures 68 – 77

• Mendelssohn Scherzo from A Midsummer Night's Dream

  Beginning – measure 48

• Rimsky-Korsakov Scheherazade

  Movement II: Recit. (as marked)
  Movement III: Pìu mosso grazioso (as marked)
  Movement IV: Vivo (as marked)

• Stravinsky Firebird Suite (1919)

  Variation de l'oiseau de feu: complete

E-flat Clarinet  

Excerpts (printable version »):

• Berlioz Symphonie fantastique

  Rehearsal Number 63 – 5 measures after Rehearsal Number 64

• Strauss Till Eulenspiegel’s Merry Pranks

  7 measures before Rehearsal Number 29 – Rehearsal Number 32
  5 measures after Rehearsal Number 38 – 4 measures before Rehearsal Number 41

Bass Clarinet  

Excerpts (printable version »):

• Grofé Grand Canyon Suite
  3. On the Trail: Rehearsal Number 2 – Rehearsal Number 3

  8 measures before Rehearsal Number 13 – 4 measures after Rehearsal Number 13
• Liszt Tasso Lamento e Trionfo

  Letter B: both solos

Bassoon

Solo: (printable version »)

• Mozart Concerto for Bassoon in B-flat Major K. 191

  Movement I: measures 35 – 71

Excerpts (printable version »)

• Mozart Overture to The Marriage of Figaro

  Measures 139 – 171

• Rimsky-Korsakov Scheherazade

  Movement II: solo

• Stravinsky The Rite of Spring

Beginning - Rehearsal Number 4
Rehearsal Number 12 for four measures

• Tchaikovsky Symphony No. 4

  Movement II: measures 274 – end

• Wagner Overture to Tannhauser

  First 16 measures

Contrabassoon

Excerpts (printable version »):

• Beethoven Symphony No. 5

  Movement IV: 1 measure before Letter A – 5 measures after Letter B

• Ravel Mother Goose Suite

  Movement IV: Rehearsal Number 2 – Rehearsal Number 4

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Brass

Horn  

Solo (printable version »):

• Mozart Concerto No. 2 in E-flat major

  Movement I: Letter A – 7 after Letter D

Excerpts (printable version »):

• Mahler Symphony No. 7

  Movement II: pick-up to Rehearsal Number 108 – Rehearsal Number 110

• Shostakovich Symphony No. 5

  Movement I: 10 measures before Rehearsal Number 18 – Rehearsal Number 21

• Strauss Don Juan

  17 before Letter O – Letter P

• Tchaikovsky Symphony No. 5

  Movement II: opening solo – 16 measures before Letter B

Trumpet

Solo:

• Haydn Trumpet Concerto in E-flat Major

  Exposition

Excerpts (printable excerpts»):

• Mahler Symphony No. 7

  Movement I: excerpts provided
  Movement V: excerpts provided

• Prokofiev Symphony No. 5

  Movement I: One before Rehearsal Number 8 - 2 before Rehearsal Number 9
                     3 after Rehearsal Number 15 for 7 measures
                     Rehearsal Number 17 - 1 before Rehearsal Number 18

  Movement II: Rehearsal Number 42 - 4 before Rehearsal Number 43
                      1 after Rehearsal Number 45 - Rehearsal Number 46

  Movement IV: 1 after Rehearsal Number 111 - 3 before Rehearsal Number 113

• Strauss Don Juan

  Excerpts provided

• Stravinsky Petrouchka

  Ballerina's Dance and Waltz (play entire excerpt from beginning to end)

Tenor Trombone

Solos (printable version »):

• David Concertino in E-flat major, Opus 4

  Movement I: Letter A – Letter D

• Rochut Andante cantabile

  Beginning – downbeat of measure 24 (a tempo)

Excerpts (printable version »):

• Mahler Symphony No. 3

  Movement I - Rehearsal 57 to 62

• Mozart Requiem, K. 626

  Tuba mirum: beginning – Letter A

• Ravel Bolero

  Solo – Rehearsal Number 11

• Strauss Till Eulenspiegel’s Merry Pranks

  4 measures before Rehearsal Number 36 – 4 measures after Rehearsal Number 37

• Wagner Die Walkure

  Pick-up to Rehearsal Number 3 – 2 measures before Rehearsal Number 4
  Pick-up to Rehearsal Number 5 – 3 measures after Rehearsal Number 6

Bass Trombone

Solo:

• Lebedev Concerto No. 1

  (either the Hofmeister or Ostrander edition is acceptable)

Excerpts (printable version »):

• Bruckner Symphony No. 7

  Movement IV: Letter P - Letter S

• Haydn The Creation

  Cor und Terzett: Beginning – Letter A

• Schumann Symphony No. 3 “Rhenish”

  Movement IV: Beginning - measure 18

• Strauss Ein Heldenleben

  Rehearsal Number 51 – Rehearsal Number 65

Tuba

Solo: no solo is required

Excerpts (printable version »):

• Prokofiev Symphony No. 5

  Movement I: Rehearsal Number 3 - 7th bar of Rehearsal Number 5
                      5 bars before Rehearsal Number 16 –
                      3rd bar of Rehearsal Number 17
                      3 bars before Rehearsal Number 23 –
                      Rehearsal Number 25

• Stravinsky The Rite of Spring (1st part)

  Rehearsal Number 33 – 4th bar of Rehearsal Number 36
  Rehearsal Number 78 for six bars

• Wagner Prelude of Act III of Lohengrin

  Letter B for 18 bars
  17 bars before Letter E to 1 bar after Letter E   

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Harp

Solo: A solo from standard solo repertoire of no more than 5 minutes

One of the following cadenzas:

• Ravel Tzigane


• Tchaikovsky Suite from Swan Lake

Excerpts (printable version »):

• Berlioz Symphonie fantastique

  Movement II: Beginning – Animato

• Britten Young Person's Guide to the Orchestra

  Cadenza and Fugue

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Percussion

Percussion applicants submitting a recorded audition are required to use VIDEO FORMAT only. AUDIO FILES OF EXCERPTS WILL NOT BE ACCEPTED.

 Excerpts (printable version »):

Glockenspiel

• Dukas Sorcerer's Apprentice

  4th bar of Rehearsal Number 17 – 3 after Rehearsal Number 19

Xylophone

• Kabalevsky Colas Breugnon Overture

  Rehearsal Number 9 – downbeat of Rehearsal Number 12
  1 before Rehearsal Number 36 – Rehearsal Number 37

• Strauss Dance of the Seven Veils from Salome 

  2nd bar of Letter d – Letter f

Marimba

• Bach Partita No. 1 in B minor

  Bouree: 1st 20 measures

Snare Drum

• Rimsky-Korsakov Capriccio espagnole

  Movement IV: beginning – 10th bar of Letter L

• Prokofiev Lieutenant Kije

  Rehearsal Number 1 – Rehearsal Number 2

Cymbals

• Tchaikovsky Symphony No. 4

  Movement IV: bar No. 272 – end

Tambourine

• Dvorák Carnival Overture

  Beginning – downbeat of Letter B

Timpani

• Beethoven Symphony No. 9

  Movement I, coda: bar No. 513 – end

• Stravinsky The Rite of Spring

  Part 2: Rehearsal Number 189 – end

* Please note that keyboard sight-reading and timpani tuning will be required of participants at the placement audition.

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