- Completed online application form
- $70 application fee
"The Tanglewood Music Center's strength lies with its resources. The Tanglewood environment is a potent mix of all the attributes of a great musical and educational experience. The presence of the Boston Symphony Orchestra and its artistic resources enables students to learn the art and craft of orchestral performance with master teacher-performers in orchestral and master class settings." -Edwin Barker, Principal Double Bass, Boston Symphony Orchestra, TMC Fellow, 1975
"The chamber music program provides intense encounters with intimate genres. The faculty stresses deep listening skills and active communication in repertoire ranging from masterworks to rarities, from the earliest styles to works just written." -Norman Fischer, Chamber Music Coordinator
"Tanglewood represents complete immersion in music: participation, study, listening, interacting. Tanglewood also manages to incorporate so many forms of music into the program-orchestra, chamber, contemporary, vocal, opera-that we become fluent in every genre. Finally, the partnership with the BSO is perhaps the most unique element of Tanglewood. Most other festivals can only offer guest faculty, but rarely an entire professional orchestra in their backyard." -Grace Browning, 2011 Harp Fellow
The TMC strives to maintain a rewarding balance of orchestral playing, chamber music, and master-classes for instrumental Fellows. Instrumental and Orchestral Studies at the TMC includes work in the TMC Orchestra (TMCO), in depth studies in chamber music, as well as classes with members of the BSO and guests, and other special instrument-specific projects.
The TMCO performs under internationally renowned conductors before sold-out crowds in the Koussevitzky Music Shed and in Seiji Ozawa Hall. Highlights of TMCO conductors and repertoire include:
RAFAEL FRÜHBECK DE BURGOS
Turina - Danzas fantásticas, Op. 22
Kodály - Dances of Galanta
Beethoven - Symphony No. 5 in C minor, Op. 67
STÉPHANE DENÈVE
Debussy - La Mer
Debussy - Jeux
Debussy - Danses sacrees et profanes
CHARLES DUTOIT
Borodin - Polovtsian Dances
CHRISTOPHVONDOHNÁNY
Schnittke - (K)ein Sommernachtstraum
Mozart - Piano Concerto No. 9 in E-flat, K. 271 (with Emanuel
Ax)
Mahler - Symphony No. 1
Another TMCO program remains to be determined. Additionally, FCM will include the American premiere of George Benjamin's acclaimed opera Written on Skin in a performance conducted by the composer.
Interaction with members of the Boston Symphony Orchestra is an integral part of the program. In addition to master-classes (see below), Fellows have regular contact with BSO section representatives, who serve as mentors in matters both professional and musical. BSO representatives are actively involved in pre-season auditions, creating summer assignments, providing ongoing counsel, and ensuring a regular collaboration between the two orchestras. Additionally, the TMCO joins with the BSO in a gala performance during Tanglewood on Parade, a day-long celebration filled with musical events. Front section seating is available to TMC Fellows for most BSO concerts, and BSO rehearsals are always open to TMC Fellows. TMC string players can audition to perform with the BSO during the summer, and TMC wind, brass, percussion and harp players are invited to observe daily BSO rehearsals onstage within the sections.
Chamber Music
Norman Fischer, Coordinator
The study and performance of chamber music is a central part of the Tanglewood Music Center curriculum. The TMC offers chamber music concerts every Sunday morning at 10:00 am and preceding BSO concerts on Saturday evening, as well as additional concerts as scheduled throughout the summer. All instrumental and vocal Fellows perform on these recitals.
All violinists, violists, and cellists will begin their summer with the 8-day String Quartet Seminar, an intensive workshop that explores this repertoire from Haydn through the 20th century. Participants concentrate exclusively on the study of pre-assigned quartets during this period; master-classes are held throughout the seminar. A marathon concert takes place at the end of the seminar, and some of the quartets studied become long-term projects for performance later in the season.
All applicants should be aware of the TMC's considerable emphasis on contemporary music, which features prominently in chamber music recitals throughout the summer and particularly during the world-renowned Festival of Contemporary Music (August 8-12).
Master-Classes
TMC Fellows have at least one class per week with BSO members, TMC resident faculty, or visiting artists, examining over the course of the summer both solo and orchestral repertoire, as well as special topics like contemporary techniques, breathing methods, professional issues, reed making, etc. Fellows are informed of these in advance of the season, and should come prepared to actively participate. Classes may include extended seminars focusing on a particular topic, reading sessions for standard orchestral repertoire, and mock auditions.
APPLICATION DEADLINE:
January 14, 2013
BASIC REQUIREMENTS
All instrumentalists must submit the following by the relevant application deadline:
LIVE AUDITIONS
The TMC office will contact you by e-mail to schedule your audition within five business days of receiving your application. Auditions are scheduled on a first-come, first-served basis. Applications received early will have the first choice of audition date and time. In most cases, live auditions are conducted by a single member of the TMC faculty and the TMC staff, and video recorded for review by the full audition committee in Boston.
DVD AUDITION INSTRUCTIONS
Those applicants who are unable to audition live must submit a video recording on DVD. The TMC office must receive a clearly labeled DVD, as well as a current résumé, on or before January 14, 2013. The TMC will NOT accept video cassettes or digital files via email. All materials must be in the office, not post-marked, by the deadline. Please contact the TMC office if you are not able to send your recording in this format.
DVD by Mail Audition Instructions
- Recordings must contain all audition repertoire in the order listed below, played in a CONTINUOUS UNEDITED SEGMENT; any indication that there has been editing or that recording equipment was paused/stopped between excerpts will result in the disqualification of the applicant
- Discs and cases must be clearly labeled with your name and instrument.
- Include a separate sheet that lists the contents of your DVD labeled with your name and your instrument.
- All pieces should be played unaccompanied, unless otherwise noted in the audition requirements.
- We strongly recommend you view to your recording all the way through, on a regular DVD player, before sending it in.
NOTE: The TMC will not be responsible or waive deadlines for DVDs damaged in the mail. Please use adequate packaging.
AUDITION REPERTOIRE AND
REQUIREMENTS
Please see Audition Requirement tab
AUDITION REPERTOIRE AND
REQUIREMENTS
Unless otherwise specified, the
following repertoire requirements pertain to both live and taped
auditions. 'rhl' refers to a rehearsal letter or number; 'mm'
refers to specific measure numbers; 'mvt.' refers to specific
movements. Applicants may also be asked to sight-read at live
auditions.
***ALL INSTRUMENTALISTS SHOULD BRING A CURRENT RÉSUMÉ TO THE LIVE AUDITION***
Do not send your résumé or any other supplementary materials to the TMC office.
| Violin | ||
| 1) | a Romantic or 20th Century concerto of your choice, mvt. I exposition | |
| 2) | a Mozart or Haydn concerto of your choice, mvt. I exposition | |
| 3) | a prepared audition piece, which will be made available to all applicants 2 weeks before the live audition tour; and on request to tape applicants | |
| 4) | excerpts (all first violin unless otherwise indicated): | |
| MAHLER | Symphony No. 1, mvt. II rhl 8-11 | |
| BEETHOVEN | Symphony No. 5, mvt. III: 6 mm after rhl A to the double bar | |
| DEBUSSY | La Mer: rhl 19-20 AND rhl 24-25 (solo cont. top line) | |
| MENDELSSOHN | String Quartet in E Minor, Op. 44, No. 2, mvt. I (Allegro assai appasionato): beginning to mm 47 | |
| SHOSTAKOVICH | String Quartet No. 11 in F Minor, Op. 122, mvt. I (Introduction): beginning to rhl 1 (first 13 measures); mvt. IV (Etude): beginning (rhl 24) to 3 mm before rhl 28 (34 measures) | |
| 5) | tape auditions only: a movement (5 minutes) from a chamber music performance recorded live within the past year- AUDIO ONLY/NO VIDEO REQUIRED | |
| Viola | ||
| 1) | a movement from a concerto | |
| 2) | a movement of Bach | |
| 3) | excerpts : | |
| BARTOK | String Quartet No. 6, mvt. I (Mesto): first 13 mm; mvt. II (Mesto; Marcia): mm 18-32. | |
| BEETHOVEN | Symphony No. 5, mvt. II: beginning to mm 10 AND pickup to mm 50 to mm 59 AND pickup to mm 99 to mm 106; mvt. III: pickup to mm 147 (Trio) to mm 181 | |
| MOZART | Quintet in E-Flat Major K. 614, mvt. I (Allegro di molto): mm 21-38; mvt. II (Andante): mm 67-78 | |
| STRAUSS | Don Juan: mm 1-8, and pickup to 2 mm before rhl A to rhl B | |
| TCHAIKOVSKY | Symphony No. 6, "Pathetique," mvt. I (Allegro non troppo): mm 19-62 | |
| 4) | a prepared audition piece, which will be made available to all applicants 2 weeks before the live audition tour; and on request to tape applicants | |
| 5) | tape auditions only: a movement (5 minutes) from a chamber music performance recorded live within the past year- AUDIO ONLY/NO VIDEO REQUIRED | |
| Cello | ||
| 1) | a concerto movement of your choice, exposition only | |
| 2) | a movement of an unaccompanied composition, either Bach or modern. | |
| 3) | excerpts : | |
| BEETHOVEN | Symphony No. 5, mvt. II: beginning to mm 10 AND mm 98-106; mvt. III: beginning to mm 18 AND mm 133-218 | |
| DEBUSSY | La Mer 2 mm before rhl 9 to 5 mm before rhl 10 (top line only) | |
| HINDEMITH | String Quartet No. 4, Op. 22, mvt. IV (Maßig schnelle Viertel): beginning to rhl B (33 bars) | |
| MAHLER | Symphony No 1, mvt. I: 10 mm after rhl 7 to rhl 17 | |
| SCHUBERT | Quintet in C Major, D. 956, cello I, mvt. II (Adagio): mm 30-43. | |
| 4) | a prepared audition piece, which will be made available to all applicants 2 weeks before the live audition tour; and on request to tape applicants | |
| 5) | tape auditions only: a movement (5 minutes) from a chamber music performance recorded live within the past year- AUDIO ONLY/NO VIDEO REQUIRED | |
| Double Bass | ||
| 1) | a movement from a concerto or comparable solo | |
| 2) | a movement of Bach | |
| 3) | a prepared audition piece, which will be made available to all applicants 2 weeks before the live audition tour; and on request to tape applicants | |
| 4) | excerpts : | |
| BEETHOVEN | Symphony No. 5, mvt. III: beginning to 5 mm after rhl A; Trio: beginning to 24 mm after rhl B | |
| GINASTERA | Variaciones Concertantes: Bass solo | |
| MOZART | Symphony No. 35, mvt. IV: beginning to 17mm after rhl A | |
| TCHAIKOVSKY | Symphony No. 4, mvt. I: 4 mm after rhl B to rhl C; rhl P to 6 mm after rhl Q | |
| Flute | ||
| 1) | Mozart Concerto in D major: mvt. I | |
| 2) | Nielsen Flute Concerto: mm 142-160 | |
| 3) | excerpts (all first flute): | |
| BEETHOVEN | Symphony No. 3, mvt. IV: mm 173-200 | |
| BRAHMS | Symphony No. 4, mvt. IV: mm 89-105 | |
| MENDELSSOHN | A Midsummer Night's Dream, Scherzo: 2 mm before rhl P to the end | |
| RAVEL | Daphnis et Chloe: rhl 176 to 2 mm after rhl 179 | |
| STRAVINSKY | Firebird Suite (1919 version): "Variation de l'oiseau de fue" (complete) | |
| Oboe | ||
| 1) | MOZART | Oboe Concerto, mvt. I: solo from mm 32 to mm 97 |
| 2) | BACH | Cantata BWV 82 "Ich Habe Genug": beginning to mm 35 |
| 3) | Excerpts (all first oboe except where indicated): | |
| DEBUSSY | La Mer, mvt. II: rhl 17 to rhl 18 AND rhl 25 to 5 mm after rhl 25 (play both 1st and 2nd oboe parts in both passages); mvt. III: 6 mm after rhl 54 to 9 mm after rhl 55 | |
| KODÁLY | Dances of Galanta: 2 mm before rhl 270 to 2 mm after rhl 270 AND rhl 450 to 470 | |
| MENDELSSOHN | Symphony No. 3, mvt. II: rhl A-B; 5 mm before rhl C to 13 mm after rhl C | |
| RAVEL | Le Tombeau de Couperin, Prelude: beginning to rhl 2 and Minuet: beginning to rhl 3 (without repeats) | |
| SHOSTAKOVICH | Symphony No. 1, mvt. III: beginning to 1st mm of rhl 1 | |
| Clarinet | ||
| 1) | Mozart concerto - mvt.I exposition | |
| 2) | excerpts: | |
| BEETHOVEN | Symphony No. 6, mvt. I: mm 474-492; mvt. II: mm 68-77 | |
| BRAHMS | Symphony No. 3, mvt. I: mm 36-46; mvt. II: mm 1-22 | |
| KODÁLY | Dances of Galanta, 1 mm after rhl 30 through rhl 65; 1 mm after rhl 570 through 1 mm before rhl 580 | |
| MENDELSSOHN | A Midsummer Night's Dream, Scherzo: mm 1-48 | |
| RAVEL | Daphnis et Chloé Suite No. 2: beginning (rhl 155) to 3 mm after rhl 157; rhl 212 to the end | |
| Bassoon NOTE: Applicants submitting a DVD by mail should record excerpts in the order listed |
||
| 1) | Mozart concerto - mvt. I exposition | |
| 3) | excerpts (all first bassoon): | |
| MOZART | Le nozze di Figaro Overture: mm 101-123 and mm 139-171 | |
| BEETHOVEN | Symphony No. 4, mvt. IV: solo (mm 184-190) | |
| BEETHOVEN | Symphony No. 5. mvt. III: mm 241 to rhl C | |
| RAVEL | Bolero: solo | |
| STRAVINSKY | The Rite of Spring: opening solo (to rhl 4) | |
| SHOSTAKOVICH | Symphony No. 4: rhl 152-155 | |
| TCHAIKOVSKY | Symphony No. 6, mvt. I: mm 1-12 | |
| Horn | ||
| 1) | Mozart 2nd or 4th concerto, mvt. I: exposition | |
| 2) | excerpts (all first horn unless otherwise indicated): | |
| BRAHMS | Symphony No. 2, mvt. I: mm 454-477 (coda solo) | |
| MAHLER | Symphony No. 3 (4th horn), mvt. I: pickup to rhl 55 to rhl 57 | |
| MENDELSSOHN | Symphony No. 3 (3rd horn), mvt. II: mm 189-223 | |
| RAVEL | Piano Concerto in G: rhl 24-26 | |
| SHOSTAKOVICH | Symphony No. 5, mvt. I: 3 mm after rhl 17 to 1 mm after rhl 21 | |
| WAGNER | Siegfried's Rhine Journey: short call | |
| Trumpet | ||
| 1) | Haydn concerto - mvt I | |
| 2) | excerpts (all first trumpet): | |
| DEBUSSY | La Mer, mvt. I: 3 mm before rhl 1 to 6 mm after rhl 1; mvt. II rhl 26-27 AND rhl 28-29; mvt. III: rhl 44-45 AND rhl 56 to 9 mm after rhl 58 | |
| MAHLER | Symphony No. 1, mvt. I: 5 mm after rhl 1 to 4 mm after rhl 3; mvt. III: all; mvt. IV: 8 mm after rhl 51 to 3 mm before rhl 53 | |
| STRAVINSKY | The Firebird, "Katschei Dance": 4 mm before rhl 2 to rhl 3 AND rhl 8 to 2 mm after rhl 11 | |
| Tenor Trombone (all first trombone unless otherwise indicated) | ||
| 1) | F. David Concertino, mvt. I: beginning through downbeat of rhl C | |
| 2) | excerpts: | |
| BEETHOVEN | Symphony No. 5, mvt. IV: 12 mm after rhl B to 6 mm after the second ending (skip first ending) | |
| BERLIOZ | "Hungarian March" (2nd Trombone): 6 mm before rhl 20 to 11 mm after rhl 21 | |
| MOZART | Requiem: Tuba mirum, solo | |
| RAVEL | Bolero: solo | |
| SAINT-SAËNS | Organ Symphony: rhl Q through 2 mm before rhl R | |
| WAGNER | Die Walküre, Act III "Ride of the Walküre": 1st B major section (pick up to rhl 5 through 3 mm after rhl 6 | |
| Bass Trombone | ||
| 1) | BOZZA New Orleans: beginning to first measure of rhl 4 | |
| 2) | excerpts: | |
| FRANCK | Symphony in D minor, mvt. III: rhl N through 16 mm before rhl O | |
| HAYDN | The Creation, No. 26 "Achieved is the Glorious Work": mm 1-37 | |
| SCHUMANN | Symphony No. 3 "Rhenish," mvt. IV: mm 1-18 | |
| STRAUSS | Ein Heldenleben: 2 mm after rhl 61 through the downbeat of rhl 65 | |
| WAGNER | Die Walküre, Act III "Ride of the Walküre": 2nd B major section (4 mm after rhl 10 to the down beat of rhl 12) | |
| Tuba | ||
| 1) | a solo of your choice | |
| 2) | excerpts: | |
| BARTÓK | The Wooden Prince: (to be played on C Tuba) pickup to rhl 116 through 4 mm after rhl 119 | |
| BERLIOZ | Symphony Fantastique, mvt. IV: rhl 56 to 6 mm after rhl 57; mvt. V rhl 84-end | |
| HINDEMITH | Symphonic Metamorphosis: 4 mm after rhl L to rhl N | |
| STRAVINSKY | Petroushka (1911 version): rhl 100-101; rhl 121-122 | |
| WAGNER | Prelude to Meistersinger: rhl J to rhl L | |
| WAGNER | Die Walküre, Act III "Ride of the Walküre": B major section, mm 125-142 | |
| Harp | ||
| 1) | MOZART | Concerto for Flute and Harp: mvt. I |
| 2) | RAVEL | Introduction and Allegro: Allegro (rhl 2-3) and Cadenza |
| 3) | A solo of your choice | |
| 4) | excerpts: | |
| DEBUSSY | La Mer: mvts. I and II | |
| MAHLER | Symphony No. 1, mvt. I: 3 mm before rhl 14 to 1 mm after rhl 15 AND 3 mm after rhl 20 to 7 mm before rhl 22; mvt. III: all | |
Percussion
Percussion applicants may audition live (auditions are first-come,
first served) or by tape. Please see above for taped audition
guidelines. In addition to the application materials required for
all instrumentalists, percussionists must submit a
repertoire list of no more than 1 page, listing
works studied and/or performed in the last 2 years. Percussionists
must prepare the following three solos in addition to all of the
required excerpts listed below.
| Solos | |
| 1. | Snare drum: Etude No. 10 from Douze Etudes by Delecluse |
| 2. | a timpani solo of choice |
| 3. | a four mallet solo from the contemporary repertoire |
| Timpani | |
| BARTÓK | Concerto for Orchestra, mvt. IV |
| BEETHOVEN | Symphony No. 9, mvt. I: mm 513 (18 mm before rhl S) to end of mvt.; mvt. II: rhl F to rhl H |
| BRAHMS | Symphony No. 1, mvt. IV: ending |
| MARTIN | Concerto for 7 winds, timpani, percussion, and strings, mvt. III: 6 mm after rhl 18 to 7 mm after rhl 22 |
| TCHAIKOVSKY | Symphony No. 4, mvt. I: 2 mm before rhl T to 3 mm before rhl U |
| Xylophone | |
| GERSHWIN | Porgy and Bess Overture: Opening |
| MESSIAEN | Exotic Birds: rhl 6-7; AND rhl 28-30 |
| W. SCHUMAN | Symphony No. 3, mvt. IV: mm 230-244 |
| STRAVINSKY | Firebird (complete ballet): rhl 46- 48 and rhl 127-133 |
| Bells | |
| DEBUSSY | La Mer, mvt. II: rhl 16-19 |
| DUKAS | The Sorcerer's Apprentice: 4 mm after rhl 17 to 4 mm after rhl 19; rhl 22-24 |
| MOZART | Magic Flute: Finale of Act I |
| RESPIGHI | Pines of Rome, beginning through 8 mm after rhl 4; rhl 7 through end of movement |
| Snare Drum | |
| NIELSEN | Clarinet Concerto: rhl 3 to rhl 4; rhl 29 to 9 mm after rhl 32 |
| PROKOFIEV | Lt. Kije Suite, mvt. I: rhl 1 to rhl 2 |
| RIMSKY-KORSAKOV | Scheherazade, mvt. III: rhl D to rhl E; mvt. IV: 4 mm before rhl N to rhl O AND rhl P-R |
| W. SCHUMAN | Symphony No. 3, Toccata: mm 143-165 |
| SUPPÉ | Overture to Pique Dame: 4 mm before rhl C to 9 mm before rhl D and rhl H to end or 13 mm after rhl 6 to rhl 9; rhl 17 to rhl 19 (Payson Book Edition) |
| SHOSTAKOVICH | Symphony No. 10, mvt. II: rhl 98 to end |