BPO Auditions

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The Boston Philharmonic announces auditions for the 2013-2014 season.

Last updated: 8/19/13; Please note this material, including dates, is subject to change.

Auditions will be held for:
- Student Positions (all strings, bassoon, trumpet and horn) (Available for students who are enrolled full-time at a Boston area university or conservatory in a performance degree program and who are not a member of any local AF of M)
  

- Amateur Positions (Unpaid position) (strings only)
  

- Union Positions (sub list only, all strings, bassoon, and horn)

OPEN AUDITIONS FOR ALL STRINGS:

Monday, September 16, 2013
 (All Basses must audition on this day)
Wednesday, September 18, 2013

AUDITIONS FOR WINDS:

Thursday, September 19, 2013

AUDITIONS FOR BRASS:

Monday, September 16, 2013

RESUME DEADLINE:

Thursday, September 12, 2013

INSTRUCTIONS:

Scroll down to find audition repertoire for violin, viola, cello, bass, basoon, horn, and trumpet. To be considered, please review the audition requirements. Email your resume to personnel@bostonphil.org and fill out an online audition application at www.surveymonkey.com/s/bpoaudition by September 12. You will receive your audition time via email by Friday, September 13, 2013.

VIOLIN

Prepared solo works:
1. Bach: Any movement of unaccompanied Solo Sonata or Partita
2. Concerto: First movement of any standard concerto
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position.):
All excerpts are for first violin unless marked otherwise:
1. Beethoven: Symphony No. 9 (3rd Movement: Measure 99 through measure 114)
2. Brahms: Symphony No. 2 (1st Movement: opening to rehearsal F)
3. Mendelssohn: A Midsummer Night's Dream (Scherzo: opening to 7 measures after D)
4. Mozart: Symphony No. 39 (Finale: opening to measure 41)
5. Schumann: Symphony No. 2 (Scherzo: opening to measure 48)
6. Strauss: Don Juan (First page)
 
VIOLA
Prepared Solo Works:
1. Bach: Any movement of unaccompanied Suite for cello or Partita or Sonata
2. Concerto: First movement of any standard concerto
Orchestral excerpts: (All orchestral excerpts are required for anyone auditioning for a paid position.)
1. Brahms: Symphony No. 4 (4th movement: rehearsal B to D) 
2. Mozart: Symphony No. 35 (4th movement: opening to measure 37)
3. Shostakovich: Symphony No. 5 (1st movement: rehearsal 15 to 17)
4. Strauss: Don Juan (opening to rehearsal D)
 
CELLO
Prepared Solo Works:
1. Bach: Any movement of unaccompanied Suite for Cello or Partita or Sonata
2. Concerto: First movement of any standard concerto
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position.):
1. Beethoven: Symphony No. 5 ( 2nd movement: measure 1– measure 10, measure 49 - measure 59, and measure 98 - measure 106)
2. Mozart: Symphony No. 35 (4th movement: opening to measure 37)
3. Shostakovich: Symphony No. 5 (3rd movement: rehearsal 89 to rehearsal 93)
4. Strauss: Don Juan (opening to rehearsal D)
 
BASS
Prepared Solo Works:
1. Bach: Any movement of unaccompanied Bach Suite for cello (Any transcription acceptable, e.g. Sterling)
2. Concerto: First movement of any standard concerto
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position.):
1. Beethoven: Symphony No. 5 (3rd movement: opening to measure 100, measure 141 to measure 218 - no repeat)
2. Beethoven: Symphony No. 9 (4th movement: opening to measure 115)
3. Brahms: Symphony No. 1 (1st movement: 26 after A (measure 46) to C; E to double bar (measure 190); 15 after K (measure 335) to M)
4. Mozart: Symphony No. 35 (1st movement: measure 13 to measure 48; measure 59 to measure 66; and 4th movement: measure 134 to measure 181)
5. Strauss: Ein Heldenleben (rehearsal 9 to 6 after rehearsal 12; rehearsal 49 to 4 after rehearsal 49; rehearsal 77 to 78)

BASSOON
Prepared Solo Works:
1. Mozart: Concerto for Bassoon K. 191 (1st movement - exposition only)
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position.):
All excerpts are first bassoon unless noted otherwise:
1. Bartok: Concerto for Orchestra (2nd movement: measure 8 to 24)
2. Berlioz: Symphonie Fantastique (4th movement: 2 bars before rehearsal 52 to rehearsal 53; 5th movement: rehearsal 71 to 6 bars before rehearsal 73; 4th bar of rehearsal 83 through first bar of rehearsal 84)
3. Mozart: Le Nozze di Figaro Overture (Bars 139 - 171)
4. Ravel: Piano Concerto in G (3rd movement: 9th bar of rehearsal 14 to rehearsal 16)
5. Rimsky-Korsakov: Scheherazade (2nd movement: measure 5 to downbeat of rehearsal A)
6. Tchaikovsky: Symphony No. 4 (2nd movement: Bar 274 to end of movement)

HORN
Prepared Solo Works:
1. Mozart: First movement of the 2nd, 3rd, or 4th concerti - exposition only - no cadenza
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position):
All excerpts are first horn unless noted otherwise:
1. Beethoven: Symphony No. 7 (1st movement: 25 after C to Rehearsal C)
2. Shostakovich: Symphony No. 5 (1st movement: 3 measures after Rehearsal 17 through first bar of Rehearsal 21)
3. Strauss: Ein Heldenleben (Opening to Rehearsal 5)
4. Strauss: Till Eulenspiegels lustige Streiche (Opening solo to Rehearsal 1)
5. Tchaikovsky: Symphony No. 5 (2nd Movement: measure 8 to 15 measures before Rehearsal B)
6. Wagner: Götterdämmerung (Siegfried’s Rhine Journey – Short Horn Call – vivace)

TRUMPET
Orchestral excerpts (All orchestral excerpts are required for anyone auditioning for a paid position):
All excerpts are first trumpet unless noted otherwise:
1. Bartok: Concerto for Orchestra (1st movement: Bar 328 to downbeat of bar 396; 2nd movement: Bar 90 to bar 147; 5th movement: Bar 201 to bar 255) [All 2nd trumpet]
2. Beethoven: Call from Leonore Overture No. 3 (Bar 272 to 299)
3. Brahms: Academic Festival Overture (Pickup to bar 64 to downbeat of bar 92)
4. Dvorak: Symphony No. 8 (1st movement: 16 bars before rehearsal L to 3 measures after L) [2nd trumpet]
5. Mahler: Symphony No. 3 (3rd movement: Posthorn solo)
6. Moussorgsky Arr. Ravel: Promenade from Pictures at an Exhibition