Instrumental

The information below pertains to the 2016 season. Please check back in late October for informatioon on the 2017 season and application process.
 

"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

"This was the most inspiring summer I have ever had, and it was an honor to be part of this orchestra. The fellows were so passionate, so motivating, and so proficient that I wanted to go to every chamber concert. The teachers and conductors were constantly pushing our boundaries as students, while treating us like utmost professionals." -Sam Weiser, 2015 Violin 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 include 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:

ANDRIS NELSONS
BSO Music Director

BRAHMS Symphony No. 1
BRAHMS Piano Concerto No. 1

STEFAN ASBURY

BENJAMIN Dream of a Song (US Premiere)
MESSIAEN Turangalila

STÉPHANE DENÈVE

RAVEL La Valse

CHRISTOPH VON DOHNÁNYI and TMC Conducting Fellows

BEETHOVEN Symphony No. 3 "Eroica"
WAGNER Siegried's Rhine Journey
STRAUSS Horn Concerto No. 1 (with Richard Sebring)

CHARLES DUTOIT

KODÁLY Dances of Galanta
TCHAIKOVSKY Violin Concerto (with Gil Shaham)
STRAVINSKY Rite of Spring

JACQUES LACOMBE and TMC Conducting Fellows

BERNSTEIN Suite from On the Town
W. SCHUMAN Symphony No. 3
RIMSKY- KORSAKOV Capricco Espagnole
STRAVINSKY Romeo and Juliet

TMC CONDUCTING FELLOWS

SHOSTAKOVICH Symphony No. 14
WEILL Seven Deadly Sins

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. String fellows can audition to perform onstage in the Koussevitsky Music Shed in regular weekend Boston Symphony performances; all fellows can be onstage during BSO rehearsals.

The TMCO joins with the BSO in a gala performance during Tanglewood on Parade, a day-long celebration filled with musical events culminating in a performance of Tchaikovsky's 1812 Overture by the two orchestras, combined.

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, Head

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 is featured prominently in chamber music recitals throughout the summer and particularly during the world-renowned Festival of Contemporary Music.



Master-Classes & Sectionals

TMC Fellows have at least one class or sectional 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.

 

 

 


The information below pertains to the 2016 season. Please check back in late October for informatioon on the 2017 season and application process.

APPLICATION DEADLINE:
January 24, 2016

BASIC REQUIREMENTS
All instrumentalists must submit a completed online application form and $75 application fee by the relevant application deadline here.

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.

Click here to see a full schedule of the 2016 TMC audition tour.

VIDEO AUDITION INSTRUCTIONS
Those applicants who are unable to audition live must submit a video recording via the online application.

Video recordings must contain all audition repertoire in the order listed, 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

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 before submitting.

 

Apply Online Now

2016 TMC AUDITION REP

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)

excerpts (all first violin unless otherwise indicated):

 

BEETHOVEN

Symphony No. 3, mvt. I: 8 mm after rhl A to rhl C; mvt. III: beginning to downbeat of rhl B

 

BRAHMS

Symphony No. 1, mvt. IV: from the Allegro non troppo to 15 mm before rhl D; 2 mm before rhl D to 9 mm after rhl F

 

MENDELSSOHN

String Quartet in E Minor, Op. 44, No. 2, mvt. I (Allegro assai appasionato): beginning to mm 47

 

SCHUBERT

Piano Trio in B-Flat Major D. 898, mvt. II (Andante un poco mosso): pickup to mm 71 (rhl S) to mm 92 (rhl U)

4)

Online video 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:

 

MENDELSSOHN

Quintet No. 1 in B-Flat Major Op. 18, viola II, mvt. III (Scherzo): mm 1-34

 

MOZART

Quintet in C Major K. 515 (viola 1), mvt. II (Andante): mm 20-32; mm 40-56 (skip the rests)

 

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)

Online video 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 :

 

BRAHMS

Symphony No. 2, mvt. II: beginning to 1 mm before rhl A

 

DVOŘÁK

Piano Quartet in E-Flat Major, Op. 87, mvt. II (Lento): mm 1-12

 

MENDELSSOHN

String Quintet No. 1, Op. 18, mvt. III (Scherzo: Allegro di molto): cello entrance (mm 23) to rhl A (mm 43); rhl C (mm 110) to 15 mm before rhl D (mm 123); 15 mm after rhl D (mm 152) to 17 mm before rhl E (mm 175)

 

STRAUSS

Ein Heldenleben: beginning to 4 mm after rhl 2

4)

Online video 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)

excerpts :

 

CARTER

Boston Concerto: mm 142-157

 

BRAHMS

Symphony No. 1, mvt. I: rhl E to 1st ending of mvt. I; mvt. II: 8 mm after rhl B to 2 mm before rhl C

 

MOZART

Symphony No. 35, mvt. I: mm 13 to rhl B; mvt IV: mm 1 to 18 mm after rhl B

 

SCHUBERT

"Trout" Quintet, mvt. I: mm 165-195; mvt. IV (variations): mm 61 (Var. III) to mm 89

 


Flute - FOR LIVE AUDITIONS

**Those auditioning live should be prepared to play from whole movements as indicated**

1)

Mozart Concerto in D major: mvt.. I & II, including cadenzas

2)

excerpts (all first flute):

 

BACH

Saint Matthew Passion: "Aus Liebe will mein Heiland sterben"

 

BEETHOVEN

Symphony No. 3, mvt. IV

 

BRAHMS

Symphony No. 4, mvt. IV

 

HINDEMITH

Symphonic Metamorphosis, mvt. III

 

PROKOFIEV

Symphony No. 1, mvts. II & IV

 

RAVEL

Daphnis et Chloe: rhl 176 to 2 mm after rhl 179

 

STRAVINSKY

The Firebird Suite (1919), Variation de L'oiseau de feu

 


Flute - FOR VIDEO AUDITION SUBMISSIONS

**Those submitting a video in lieu of a live audition should play excerpts as listed below, counting short rests but skipping long rests between passages**

1)

Mozart Concerto in D major: mvts. I & II, EXCLUDING cadenzas

2)

excerpts (all first flute):

 

BACH

Saint Matthew Passion: "Aus Liebe will mein Heiland sterben"

 

BEETHOVEN

Symphony No. 3, mvt. IV: 16 mm before rhl B until 18 mm before rhl E

 

BRAHMS

Symphony No. 4, mvt. IV: 12 mm before rhl D through 1 mm before rhl G

 

HINDEMITH

Symphonic Metamorphosis, mvt. III: rhl B until the end

 

PROKOFIEV

Symphony No. 1, mvt. II: complete; mvt. IV: 3 mm before rhl I until rhl P

 

RAVEL

Daphnis et Chloe: rhl 176 to 2 mm after rhl 179

 

STRAVINSKY

The Firebird Suite (1919), Variation de L'oiseau de feu

 


Oboe

NOTE: Applicants submitting a video in lieu of a live audition should record excerpts in the order listed

1)

MOZART

Oboe Quartet; 1st page

2)

BACH

Cantata BWV 82 "Ich Habe Genug": beginning to mm 35

3)

Excerpts (all first oboe except where indicated):

 

BEETHOVEN

Symphony No. 3, Eroica mvt. II: first two solos (before fig.B); mvt. III: mm 1-28, and 13 mm before rhl A to 23 mm after rhl B

 

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

 

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

Clarinet Concerto, mvt. I: solo exposition; mvt. III: mm 1 - 97

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

 

RAVEL

Daphnis et Chloé Suite No. 2: rhl 212 to the end

 

SHOSTAKOVICH

Symphony No. 9, mvt. II: mm 1-32.

 

KODÁLY

Dances of Galanta, mm 31-65; mm 571-579

 

SIBELIUS

Symphony No. 1, mvt. III (Scherzo): 6th bar of rhl E through 12th bar of rhl G (mm 113-154)

 


Bass Clarinet

1)

MOZART

concerto - mvt. I exposition (NOT to be played on bass)

2)

excerpts:

 

GROFÉ

The Grand Canyon Suite, "On the Trail": rhl 2-3; Presto to 5 mm after rhl 13

 

KHACHATURIAN

Piano Concerto, mvt. II: mm 220 to end of solo

 

RAVEL

Daphnis et Chloé Suite No. 2: rhl 167 (3 bars); 3 mm before rhl 170 (1 bar); 3 mm before rhl 213 to rhl 214

 

W. SCHUMAN

Symphony No. 3, Toccata: mm 157-203

 

STRAUSS

Don Quixote: rhl 14-15; 3 mm after rhl 16 to double bar; and rhl 72-74

 

STRAVINSKY

The Rite of Spring: rhl 5 to 7 mm before rhl 7; rhl 48-49; 3 mm after rhl 140 to rhl 142

 


Bassoon

NOTE: Applicants submitting a video in lieu of a live audition should record excerpts in the order listed

1)

Mozart concerto - mvt. I exposition

2)

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. 3, mvt. III: mm 119-170 (2nd ending) and mm 204-220

 

BRAHMS

Symphony No. 1, mvt. I: mm 6-21 and mm 197-205

 

STRAVINSKY

The Rite of Spring: opening solo (to rhl 4)

 

DONIZETTI

L'elisir d'amore, "Una Fertiva Lagrima": beginning of aria to rhl 67

 

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):

 

BEETHOVEN

Symphony No. 3, Eroica, mvt. III, 2nd horn: mm 159-205

 

BRAHMS

Symphony No. 2, mvt. I: mm 454-477 (coda solo)

 

MAHLER

Symphony No. 3, mvt I: 1 mm before rhl 29 to 3 mm after rhl 31

 

RAVEL

Piano Concerto in G: rhl 24-26

 

STRAUSS

Ein Heldenleben: 2nd horn, 4 mm after rhl 3 to 3 mm after rhl 5

 

WAGNER

Siegfried's Rhine Journey: short call

 


Trumpet

1)

Haydn concerto - mvt. I

2)

excerpts (all first trumpet):

 

BIZET

Carmen: Prelude

 

MAHLER

Symphony No. 6, mvt. I: 5 mm before rhl 30 to rhl 31; mvt. II (Andante): 3 mm after rhl 53 to 6mm after rhl 53; mvt. IV: 3 mm after rhl 123 to 4 mm after rhl 125

 

RAVEL

Piano Concerto in G, mvt. I: rhl 2-3

 

STRAVINSKY

The Firebird, Katschei Dance: 4 mm before rhl 2 to rhl 3; rhl 8 to 2 mm after rhl 11

 


Tenor Trombone
(all first trombone unless otherwise indicated)

NOTE: All Trombone Auditions MUST be played from TMC-provided PDFs, made available upon application, which provide music for specific measure numbers

1)

F. David Concertino, mvt. I: beginning through downbeat of rhl C

2)

excerpts:

 

MOZART

Requiem: Tuba mirum, solo

 

HINDEMITH

Symphonic Metamorphosis "Turandot scherzo": rhl H to 9mm after rhl I

 

RAVEL

L'enfant et les sortileges: rhl 33 to 1 mm after rhl 35

 

SAINT-SAËNS

Organ Symphony: rhl Q through 2 mm before rhl R

 

WAGNER

Die Walküre: Ride, B major section

 


Bass Trombone

NOTE: All Bass Trombone Auditions MUST be played from TMC-provided PDFs, made available upon application

1)

BOZZA New Orleans: beginning to first measure of rhl 2

2)

excerpts:

 

WAGNER

Das Rheingold: Scene 2

 

WAGNER

Tannhäuser: Overture

 

HAYDN

The Creation, No. 26 "Achieved is the Glorious Work": mm 1-37

 

STRAUSS

Ein Heldenleben: rhl 55 through 2 mm after rhl 56; 3 mm after rhl 61 through 1st mm of rhl 65

 


Tuba

1)

a solo of your choice

2)

excerpts:

 

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

 

SHOSTAKOVICH

Symphony No. 9, mvt. V: pick up to rhl I to rhl K

 

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)

a solo of your choice

2)

MOZART

Concerto for Flute and Harp: mvt. I

3)

Excerpts:

 

 

BERLIOZ

Symphony fantastique, mvt. II

 

BRITTEN       

Young Person's Guide to the Orchestra: Cadenza & Fugue until end

 

RAVEL

Introduction and Allegro: Allegro (rhl 2-3) and Cadenza

 

RAVEL

Tzigane: Cadenza



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.

 

Solos

1)

Snare drum: Peters #4 from Hard Times

2)

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

W. SCHUMAN

New England Triptich, mvt. I: opening mm 1-14 AND mm 122-152

TCHAIKOVSKY

Symphony No. 4, mvt. I: 2 mm before rhl T to 3 mm before rhl U


Xylophone

GERSHWIN

Porgy and Bess Overture: Opening

KODÁLY

Háry János: mvt. VI

MESSIAEN

Exotic Birds: rhl 6-7 AND rhl 28-30 AND rhl 16 to 5 mm before rhl 18

W. SCHUMAN

Symphony No. 3, mvt. IV: mm 230-244

SHOSTAKOVICH

Lady Macbeth of Mtsensk: Act III, scene 6: rhl 379-384


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

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

SHOSTAKOVICH

Symphony No. 10, mvt. II: rhl 98 to end