APPLICATION DEADLINE: January 22nd, 2018



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 audition committee and/or TMC staff, and video recorded for review by the full audition committee in Boston. Most auditions are 10 minutes long.

Los Angeles: January 28 & 29
Bloomington: January 28
Cleveland: January 31
Chicago: January 31 & February 2
New York City: February 4 & 5
Philadelphia: February 10 (NEW CITY)
Boston: February 11 & 12
Miami: February 14
Houston: February 16



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.



  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



  1. MOZART Oboe Quartet, mvt. III: pickups to mm 60 to high the F in mm 118
  2. BACH St. Matthew Passion, "Ich will bei meinem Jesu wachen": mm 1-12
  3. excerpts (all first oboe except where indicated):

    DVORÁK Symphony No. 9, mvt. II: rhl 2 to 8 mm after rhl 2; rhl 4 to 7 mm after rhl 4
    STRAUSS Ein Heldenleben, Etwas langsamer: 10mm after rhl 13 to 8mm before rhl 16
    SMETENA Overture to The Bartered Bride: mm 1-8; mm 95-111 u



  1. MOZART Clarinet Concerto, mvt. I: mm 57 (beginning of solo expo) through 127
  2. excerpts:

    BARTÓK Concerto for Orchestra, mvt. I: mm 174-211; mvt. II: mm 45-57; mvt. IV: mm 76-89
    BEETHOVEN Symphony No. 6, mvt. I: mm 474-492
    BRAHMS Symphony No. 3, mvt. I: mm. 36-46
    BRAHMS Symphony No. 4, mvt. II: mm 4-30
    MENDELSSOHN A Midsummer Night's Dream, Scherzo: mm 1-48
    RAVEL Daphnis et Chloé Suite No. 2: rhl 155-158; rhl 212 to the end


Bass Clarinet

  1. 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(applicants applying via video should record excerpts in this order)

  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)
    STRAVINSKY Rite of Spring: opening solo (to rhl 4)
    BARTOK Concerto for Orchestra, mvt. II: beginning to mm 25
    NIELSEN Quintet for Winds, mvt. III: variation VII
    TCHAIKOVSKY Symphony No. 6, mvt. I: mm 1-12