Educating the next generation of artists, leaders, and global citizens

As we enter our fifth year, The Tianjin Juilliard Graduate Studies program continues to transform the landscape of music-making and education in China. Musicians will earn a Master of Music degree from The Juilliard School  in the first joint venture to offer a U.S.-accredited music degree in China. The curriculum at the Tianjin campus is uniquely focused on collaborative musicianship and provides extensive performance opportunities throughout China, Asia, and beyond. The graduate degree is  offered exclusively in collaborative majors – Instrumental and Orchestral Studies, Instrumental and Chamber Music Studies, and Collaborative Piano. 

At the heart of Juilliard’s reputation for excellence is a faculty of distinguished artist-teachers. Students will work with an international roster of resident faculty, visiting faculty from The Juilliard School in New York, and other leading artists from around the world. The challenge embraced by our faculty is a complex one: to nurture and guide each musician toward the fullest expression of their potential, and to equip each student with the professional skills and experience to pursue a career in the arts. 

Coaching, lessons, and rehearsals will engage musicians in an imaginative and constructive exchange of ideas. Students will strengthen  their unique musical voice through individual mentorship, and develop  musical dialogue with their peers through ensemble playing.  Through coursework, students will strengthen their ability to generate and communicate interpretative opinions and explore the nature of collaboration using innovative techniques drawn from the worlds of acting, team-building, and music.  

First Year

Second Year

Minimum Total Credits: 58

First Year

Second Year

Minimum Total Credits: 54

First Year

Second Year

Minimum Total Credits: 62

Guidelines for Instrumental Pre-Screening Recordings 

• Recordings must be genuinely performed by you. 
• Your pre-screening videos do not need to be professionally recorded: A quality recording made on a smartphone, tablet, laptop/computer, or other simple recording device is acceptable.
• Each of your required pieces should be uploaded to your application as a separate file. 
  • Acceptable video file types include: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv. 
  • If you recorded a video file on an iPhone model 7 or later, you may experience difficulty uploading your file. If so, please convert your file format to one of the above acceptable video file types.
• The application system uses a timed auto logout function. If your recordings fail to upload, and you are using one of the approved filetypes, please make sure you are still logged into the system before attempting to re-upload your recordings.
• Please rename your videos before you upload them with the suggested format: Composer's last name: title. For example: Saint-Saëns: Violin Concerto No.3 in B Minor, Op. 61; Mozart: Piano Sonata No.10 in C Major, K330.
• Recordings must not be edited, nor should any effects such as “reverb” be added.
• Review your recordings before uploading to ensure that they are of good quality and represent your best work to date. 
• Upload your recordings to your application well in advance of the application deadline.

Applicants who successfully pass the pre-screening portion of the application process will be notified by March 15 whether they will be invited to register for an audition. Auditions will be held at the Tianjin campus in April, 2025. Applicants who are invited to audition live will be assigned to one of the following audition days.

April 13, 14, 20 & 21, 2025 | Tianjin
Location: Tianjin Juilliard School
Address: No. 2946 Xinhua Road, Binhai New Area, Tianjin

Please fill out our inquiry form to receive more Pre-College information.

Please note that all Pre-College programs require you to submit pre-screening materials as part of your application. The admissions committee will review the recordings and, if you pass the pre-screening round, you will be invited to a live audition.

The pre-screening and live audition repertoire requirements for all instrumental areas and composition are listed below.

Please Note: All auditions except violin, viola and cello will be conducted without piano accompaniment.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

*Students through age 11: 

1. Major and minor scales and arpeggios in three octaves, key of the applicant's choice 
2. An étude on the level of Mazas, Kayser, or Dont (Op. 37) 
3. One piece or one movement by composers from Baroque period
4. A slow and fast movement of a concerto by a composer such as Bériot, Viotti, Rode, Bach, or Mozart 

*Students ages 12 through 14: 

1. Major and minor scales and arpeggios in three octaves, key of the applicant's choice  
2. An étude on the level of Dont (Op. 37), Kreutzer, Fiorillo, or Rode
3. One movement from a Bach solo violin sonata or partita (BWV 1001-1006) 
4. A slow and fast movement from a concerto by a composer such as Kabalevsky, Mozart, Bruch, Wieniawski, or Lalo 

*Students age 15 and older: 

1. Major and minor scales and arpeggios in three octaves, key of the applicant's choice  
2. An étude on the level of Rode, Dont (Op. 35), Paganini, or Wieniawski 
3. A slow and fast movement from a substantial Romantic or Contemporary concerto 
4. Two contrasting movements from a Bach solo violin sonata or partita (BWV 1001-1006)

*All auditions must be performed from memory. Violin applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition 

*Students through age 12: 

1. Two scales and arpeggios: 3 octaves, one major, one minor, slurred, moderate tempo 
2. Two contrasting movements of a solo Bach cello suite 
3. An étude by Kayser, Kreutzer, Dont, Rode, Campagnoli, or Fiorillo 
4. Two movements of the Telemann Concerto or a movement of a concerto by Handel/Casadesus, J.C. Bach/Casadesus, Stamitz, Hoffmeister, Vanhal, Dittersdorf 

*Students age 13 and older: 

1. Two scales and arpeggios: 3 octaves, one major, one minor, slurred, fast tempo 
2. Two contrasting movements of a solo Bach cello suite 
3. An étude by Kayser, Kreutzer, Dont, Rode, Campagnoli, or Fiorillo 
4. One of the following: 
   • A movement of a sonata or suite by Brahms, Schubert, Glinka, Schumann, Hindemith, Clarke, Bloch, or Vaughan-Williams 
   • A short work in one movement for viola and piano by Bruch, Enescu, Glazunov, Vieuxtemps, Weber, Carter, or Hindemith
   • Two movements of the Telemann Concerto or a movement of a concerto by Handel/Casadesus, J.C. Bach/Casadesus, Stamitz, Hoffmeister, Vanhal, Dittersdorf, Bartok, Walton, or Hindemith’s der Schwanendreher 

*Memorization is strongly encouraged for concertos and Bach. Viola applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines. Please contact the Admissions Office if you would like to play a piece of equivalent level that is not on the list.  

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition 

*Students through age 14: 

1. Major and minor scales in three octaves, key of the applicant's choice  
2. An étude on the level of Schroeder Foundation Studies, Vol. 2 
3. Two contrasting movements from an unaccompanied cello suite by Bach or a comparable unaccompanied work 
4. A first or last movement of a concerto by Boccherini, Saint-Saëns, Haydn C Major, or comparable
5. A virtuoso concert piece(can be a movement from a sonata) 

*Students age 15 and older: 

1. Major and minor scales in four octaves, key of the applicant's choice  
2. An étude on the level of Duport études, Piatti, or Popper High School of Cello Playing 
3. Two contrasting movements, including a Prelude, from an unaccompanied cello Suite by Bach 
4. A first or last movement of a concerto by Lalo, Dvorak, Haydn D Major, or comparable 
5. A virtuoso concert piece(can be a movement from a sonata)

*All auditions must be performed from memory. Cello applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition 

1. One scale and arpeggio in at least two octaves, preferably three, key of the applicant's choice  
2. An étude 
3. Two contrasting solo pieces

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition 

*Students through age 13: 

1. An étude from Bochsa Op. 318 or an étude from Pozzoli
2. Two contrasting solo works, such as Six Sonatines for Harp by Dussek, Tema Con Variazioni by Handel, John Thomas' Minstrel's Adieu, Automne by Marcel Grandjany, or works of comparable difficulty

*Students age 14 and older: 

1. Two études from Bochsa Op. 62 or Op. 34 of contrasting style 
2. Two contrasting solo works of comparable difficulty to Tournier’s Au Matin and Glinka's Variations on a Theme of Mozart

*Applicants must audition on the pedal harp and be prepared to play solo works from memory.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition

*Students through age 11:

1. One scale in at least 2 octaves, key of your choice
2. An étude from 25 Etudes Op.60 by Matteo Carcassi
3. A work of your choice

*Students ages 12 through 14:

1. One scale in at least 2 octaves, key of your choice
2. An étude from 25 Etudes Op.60 by Matteo Carcassi
3. A work or works of your choice, totaling no less than 5 minutes

*Students age 15 and older:

1. One scale of your choice from Francisco Tarrega Complete Technical Studies
2. An étude by Heitor Villa-Lobos
3. One piece or one movement from a work by J.S. Bach
4. A work of your choice, 5-8 minutes

*All auditions must be performed from memory.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition 

1. Scales and arpeggios in all major and minor scales (up to 4 accidentals at least) 
2. Two études of different characters on the level of Köhler Op.33, Book 1 or 2, or Andersen Op.33 
3. One slow and one fast movement from a Baroque or Classical sonata or concerto (excluding Mozart Concerti)  
4. A short work or movement(s) from a larger work from the Romantic or 20th century period

*At least one of the audition repertoire should be played from memory.*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

1. Major and minor scales, specific key(s) to be determined by the panel at the audition 
2. Two of the 40 Progressive Melodies from the Barrett Method book 
3. Two contrasting movements from a sonata or concerto by Marcello, Cimarosa, Handel, Vivaldi, Telemann, Albinoni, Mozart, or a work of comparable difficulty 

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

*Students through age 13: 

1. All major and minor scales, and chromatic scale from low E to high C 
2. A slow étude 
3. One movement from a sonata or concerto comparable in difficulty to the Sonata by Vanhal or the Concerto No. 3 by Stamitz 
4. A contrasting movement to No. 3 (above), or another contrasting work 

*Students age 14 and older: 

1. All major, minor and chromatic scales 
2. An étude comparable to those by C. Rose 
3. One movement from a work comparable in difficulty to the Concerto in A Major, K. 622, by Mozart; Concerto in F Minor, Op. 73, by Weber; sonatas by Bernstein, Saint-Saëns, or Hindemith; or any of the 16 Grand Solos by Bonade 
4. A contrasting movement to No. 3 (above), or another contrasting work

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

*Students through age 13: 

1. Major and minor scales up to four sharps and four flats 
2. An étude taken from Weissenborn Studies, Vol. 1 
3. A work of the applicant's choice 

*Students age 14 and older: 

1. All major and minor scales 
2. Two études from Weissenborn Studies (advanced section), or Gambaro Studies, or Milde Scales and Chords 
3. A work of the applicant's choice

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

1. Major and minor scales 
2. Two contrasting selections. These can be:
   • Pieces or movements of pieces, such works by Balay, Barat, Bozza, Goedicke, etc.
   • And/or études/characteristic studies, such as those by Arban, Böhme, Bousquet, Goldman, etc. 

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast. 
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

1. Major and minor scales 
2. An étude by Kopprasch 
3. Two contrasting movements from the Beethoven Sonata, the Franz Strauss Concerto, Mozart concerti, Richard Strauss Concerto No.1, Saint-Saëns Morceau de Concert, or a work of comparable difficulty

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast.
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

1. Major and minor scales 
2. Two contrasting études from Bordogni/Rochut, Kopprasch, or Blazhevich Clef Studies 
3. One solo work such as Andante et Allegro by Barat, Morceau Symphonique by A. Guilmant, or Concerto No. 2 by Blazevich 

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

1. Two contrasting short works or movements from larger works. Please consider era, style, genre, tempi and character as elements of contrast.
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

1. Major Scales (at least one octave)

2. Two contrasting tuba études: One lyrical (legato) etude from Bordogni/Rochut or similar; One technical (articulated) etude from Blazhevich, Kopprasch, Arban (Complete Method for Tuba), or similar.

3. One or Two movements from a major solo work, such as

• Johann Sebastian Bach: Air and Bourree (Tuba Solo with Piano )
• Antonio Capuzzi: Andante and Rondo (arr. Philip Catelinet)
• Franz Strauss: Nocturne (arr. Rudy Emilson)
• Lebedev Alexander: Concerto in one movement
• Edward Gregson: Concerto
• Paul Hindemith: Sonata
• Ralph Vaughn Williams: Concerto

Pre-Screening

1. Snare Drum - solo of your choice
2. Mallets - solo of your choice
3. Timpani - solo of your choice
4. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

Live Audition Repertoire 

Snare Drum:

1. Concert solo by Cirone, Delecluse, Peters or equivalent
2. Rudimental solo by Pratt, Wilcoxon or equivalent
3. Sight reading

Mallets: 

1. Two-mallets – Solo of your choice
2. Four-mallets – Solo of your choice (required of auditionees 15 years old and older. Optional for younger students)
3. Knowledge of all major and minor (natural, melodic, harmonic) scales and arpeggios
4. Sight reading

Timpani: 

1. Orchestral solo by Delecluse, Nick Woud, Vic Firth, Hochrainer or equivalent
2. Interval recognition
3. Sight reading

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

 Pre-Screening

1. Two contrasting works, each within 10 minutes, preferably one in a lyrical style and the other in a virtuosic style, by different composers from different eras. Movements from larger works are acceptable.
2. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction video along with your musical pre-screening videos.

 
 Live Audition Repertoire 

*Students through age 11:

1. A work by Bach, excluding the two-part inventions
2. Two contrasting movements of a classical sonata
3. A virtuosic etude
4. A work by a 19th-century composer

*Students ages 12 through 15:

1. A work by Bach, excluding the two-part inventions
2. A complete sonata by Haydn, Mozart, or Beethoven (excluding Op. 49)
3. A virtuosic etude
4. A Romantic work by Chopin, Liszt, Mendelssohn, Schumann, Brahms, Tchaikovsky or Rachmaninov

*Students age 16 and older:

1. A complete work by Bach, excluding all inventions
2. A complete sonata by Haydn, Mozart, or Beethoven (excluding Op. 49 and Op. 79)
3. A substantial Romantic work by Chopin, Liszt, Mendelssohn, Schumann, Brahms, Tchaikovsky or Rachmaninov
4. A work by a 20th or a 21st-century composer

*All auditions must be performed from memory.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines.

Pre-Screening

All applicants must submit two or more scores of the student's original compositions. The scores may be handwritten (if neat and legible), or computer generated.

1. You may upload recordings of your compositions to your application, but recordings are not necessary. No fully electronic/midi compositions will be accepted.
2. Upload each of your compositions as a separate pdf file before the application deadline.
3. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your primary instrument, and something interesting about yourself. Please upload your English self-introduction video along with your other pre-screening materials.
    

Live Audition

1. Interview and Audition: Applicants will meet with members of the faculty to present their music and discuss various topics of interest. Applicants will also be asked to perform briefly (5-7 minutes) on an instrument of their choice from a work that best represents their ability on that instrument.
2. Composition Assignment: Applicants will be given a special composition assignment to be handwritten on the day of the audition. The details of the assignment will be determined by the composition faculty. Applicants may use their own writing supplies and will be given two hours to complete their work. The School will provide each applicant with access to a private room with a piano.

Pre-Screening

1. A standard 17th or 18th century classical Italian song sung in Italian, for example: Caro mio ben, Sebben credule, O del mio dolce ardor, Ombra mai fu, Lascia ch'io pianga.
2. A standard Chinese art song, for example: Nostalgia (思乡), Three wishes of the Rose (玫瑰三愿), How can I help but think of you (叫我如何不想他), I reside at the top of Yangtze River (我住长江头), Waves of Huge River Flowing Eastward (大江东去).
   • Please record the two songs above separately with piano accompaniment. You need to sing from memory without any microphone.
3. Please record a 1-2 minute video introducing yourself, in English. Tell us your name, age, school, where you are from, your instrument, and something interesting about yourself. Please upload your English self-introduction videos along with your musical pre-screening videos.

Live Audition

1. The faculty will choose one song from your pre-screening repertoire for you to sing live from memory. Piano accompaniment will be provided by Tianjin Juilliard.
2. The faculty will interact with you on site. Vocalizing practices will be included.

Guidelines for Pre-Screening Recordings 

• Recordings must be genuinely performed by you 
• You are required to upload your files in a Video format. Acceptable file types include: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv 
• Each of your required pieces should be uploaded to your application as a separate file 
• Clearly label each of the uploaded files with the name of the composer and work/movement
• Recordings must not be edited, nor should any effects such as “reverb” be added 
• Review your recordings before uploading to ensure that they are of good quality and represent your best work to date 
• Upload your recordings to your application well in advance of the application deadline (December 15, 2024)

Please note that all Master of Music programs require you to submit a pre-screening recording as part of your application. Faculty will review the recordings and, if you pass the pre-screening round, you will be invited to a final audition.

In addition to your pre-screen repertoire, please also record an informal self-introduction video no more than 3 minutes in length. Please use this as an opportunity to share something that we don't already know from your application. This could be an interesting story about yourself, music or non-music related. Use it as an opportunity to share your personality and let us get to know you better! Please record this video in English.

All collaborative repertoire must be performed with soloists. Applicants must arrange for their own soloists on the pre-screen recording.

Final auditions for collaborative piano will take place in Tianjin and New York City. Applicants unable to travel to a live audition location must contact the Office of Admissions at admissions@tianjinjuilliard.edu.cn to discuss the circumstances and reasons they cannot audition live, and to request approval of an alternative audition modality.

• The live audition dates and locations are listed below 
• All collaborative piano applicants auditioning live will perform with soloists provided by Tianjin Juilliard 

Memorization

• All solo piano works must be performed from memory.

Instrumental Focus

Pre-Screening Audition Requirements

1. Choose one of the following:

   - The first movement of a substantial sonata for violin and piano by Mozart.

   - The first movement of a substantial sonata for violin or cello and piano by Beethoven.

2. The first movement of a substantial sonata of a contrasting style for violin or cello and piano.

3. A substantial solo piece of the applicant’s choice. All solo piano works must be performed from memory.

Final Audition Requirements

The following repertoire requirements have been adjusted compared to last year. Be sure to review the changes. Last updated on September 18, 2024.

Note that BOTH Sonata selections MUST be different from the pre-screening round.

1. Choose one of the following:

    - BEETHOVEN: Violin Sonata in E Flat Major, Op. 12, No. 3. First movement and second movement

    - MOZART: Violin Sonata in B-flat major, K. 454. First movement and second movement

2. Choose one of the following sonatas:

    - FRANCK: Violin Sonata in A. Fourth movement

    - BRAHMS: Violin Sonata in G Major, Op. 78. First movement and second movement

    - PROKOFIEV: Violin Sonata in D Major, Op. 94a. First movement and second movement

3. Choose one of the following.

    - MENDELSSOHN: Violin Concerto in E Minor, Op.64. First movement

    - MOZART: Violin Concerto in A Major, KV 219. First movement

4. Choose one of the following solo selections. Must be performed from memory.

    - One prelude and fugue by J.S. Bach from The Well-Tempered Clavier.

    - One solo piano piece of the applicant’s choice written in the 19th or 20th century.

5. Sight-reading selections from instrumental and vocal literature.

The candidate is required to perform with the violinist provided by Tianjin Juilliard. The candidate will be responsible for coordinating rehearsal time directly with the audition partners.

In addition to the requirements listed above, a personal interview of the applicant will be conducted by the faculty.

Vocal Focus

Applicants to the Collaborative Piano – Vocal Focus major must be fluent in English and are required to complete an interview with the Chair of Collaborative Piano as part of the pre-screening process.

Pre-Screening Audition Requirements

1. MOZART: Voi che sapete from Le nozze di Figaro

2. Choose one of the following:

    -SCHUBERT: Ganymed (A-flat major)

    -SCHUMANN: Mondnacht (E major)

3. Choose one of the following:

    -WOLF: Er ist’s (G major)

    -SCHUBERT: Der Musensohn (G major)

4. Choose one of the following:

    -FAURÉ: Mandoline (A-flat major)

    -DEBUSSY: Green (Original key)

5. A substantial solo piece of the applicant’s choice. All solo piano works must be performed from memory.

IMPORTANT: In the video recording, applicants must announce the complete titles of each vocal selection and the full names of each composer in the original language.

Final Audition Requirements

The following repertoire requirements have been adjusted compared to last year. Be sure to review the changes. Last updated on September 18, 2024.

In addition to the requirements listed below, a second personal interview of the applicant will be conducted by the faculty. All applicants will be asked to sight-read at their live audition or during the online interview with faculty.

1. MOZART: Smanie implacabili, with recitativo from Così fan tutte (start from “Ah! Scostati”)

2. STRAUSS: Wie du warst from Der Rosenkavalier

3. Choose one of the following:

     -SCHUBERT: Im Frühling (G major)

     -BRAHMS: Botschaft (B-flat minor)

4. Choose one of the following:

     -BERG: Die Nachtigall

     -STRAUSS: Cäcilie (E-flat major)

5. Choose one of the following:

     -DUPARC: Chanson triste  

     -FAURÉ: La lune blanche 

6. Choose one of the following solo selections. Must be performed from memory.

    -One prelude and fugue by J.S. Bach from The Well-Tempered Clavier.

    -One solo piano piece of the applicant’s choice written in the 19th or 20th century.

7. One song to be played and sung at the same time by the candidate, emailed one week before the interview.

8. Sight-reading.

The candidate is required to perform with the singer provided by Tianjin Juilliard. The candidate will be responsible for coordinating rehearsal time directly with the audition partners.

Guidelines for Pre-Screening Recordings 

• Recordings must be genuinely performed by you 
• You are required to upload your files in a Video format. Acceptable file types include: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv 
• Each of your required pieces should be uploaded to your application as a separate file 
• Clearly label each of the uploaded files with the name of the composer and work/movement
• Recordings must not be edited, nor should any effects such as “reverb” be added 
• Review your recordings before uploading to ensure that they are of good quality and represent your best work to date 
• Upload your recordings to your application in advance of the application deadline (December 15, 2024)

Please note that all Master of Music programs require you to submit a pre-screening recording as part of your application. Faculty will review the recordings and, if you pass the pre-screening round, you will be invited to a final audition. 

In addition to your pre-screen repertoire, please also record an informal self-introduction video no more than 3 minutes in length. Please use this as an opportunity to share something that we don't already know from your application. This could be an interesting story about yourself, music or non-music related. Use it as an opportunity to share your personality and let us get to know you better! Please record this video in English.

Final auditions will take place in Tianjin and at select regional locations. Applicants unable to travel to a live audition location must contact the Office of Admissions at admissions@tianjinjuilliard.edu.cn to discuss the circumstances and reasons they cannot audition live, and to request approval of an alternative audition modality.

The live audition dates and locations are listed below 

Memorization

• For the piano major, all solo piano works must be performed from memory.
• For non-piano majors, unless otherwise specified, all works except for sonatas and chamber music must be performed from memory. 

• Auditions for individual applicants to the instrumental and chamber music studies major are only available in Tianjin 
• Auditions for pre-formed chamber groups to the instrumental and chamber music studies major are available at all locations listed above 

For individual applicants who are not applying as part of a pre-formed group

Pre-Screening Requirements

1. The first movement of a Classical-era Sonata for piano (excluding Haydn: Hob. XVI: 1-14; Hob. XVI:27, 28, 35 and 37 and Beethoven: Op. 26, Op. 27 no. 2 'Moonlight", Op. 49, No. 1 and No. 2 and Op. 79) 
2. A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn. Etudes, nocturnes, short dances, waltzes, or comparable pieces are not acceptable
3. One movement from any chamber work, played with other parts 

Note: All solo piano works must be performed from memory.

Final Audition Requirements

1. The first movement of a substantial Classical Sonata for piano (excluding Haydn: Hob. XVI: 1-14; Hob. XVI: 27, 28, 35 and 37 and Beethoven: Op. 26, Op. 27 No. 2 'Moonlight", Op. 49, No. 1 and 2 and Op. 79)  
2. Beethoven: Piano Trio in E-flat, Op. 1, No. 1, 1st movement, Allegro, played with other parts
3. Brahms: Piano Trio in C Major, Op. 87, 1st movement, Allegro moderato, played with other parts

Note: All solo piano works must be performed from memory.

For individual applicants who are not applying as part of a pre-formed group

Pre-Screening Requirements

1. First movement exposition and cadenza of a concerto from the 19th, 20th or 21st century, such as: Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, Walton, played with piano
2. One movement from an unaccompanied Bach partita or sonata for violin
3. One movement of a substantial sonata for violin and piano, played with piano
4. One movement from any chamber work, played with other parts 

Note: All works except for sonatas and chamber music must be performed from memory. 

Final Audition Requirements

1. First movement with cadenza of a concerto from the 19th, 20th or 21st century, such as: Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, Walton
2. Two contrasting movements from an unaccompanied Bach partita or sonata for violin
3. Mozart: Divertimento in E-flat Major, K.563, 1st movement, played with other parts

Note: All works except for sonatas and chamber music must be performed from memory. 

For individual applicants who are not applying as part of a pre-formed group

Pre-Screening Requirements

1. First movement exposition and cadenza of a concerto from the 18th, 20th or 21st century, played with piano
2. One movement from an unaccompanied Bach cello suite, violin partita, or violin sonata
3. One movement of a substantial sonata for viola and piano, played with piano
4. One movement from any chamber work, played with other parts 

Note: All works except for sonatas and chamber music must be performed from memory. 

Final Audition Requirements

1. The first movement plus cadenza from a concerto from the 18th, 20th or 21st century
2. Two contrasting movements from an unaccompanied Bach suite, partita, or sonata
3. Mozart: Divertimento in E-flat Major, K.563, 1st movement, played with other parts

Note: All works except for sonatas and chamber music must be performed from memory. 

For individual applicants who are not applying as part of a pre-formed group

Pre-Screening Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please submit the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns concerto, please submit the whole concerto), played with piano
2. One movement from an unaccompanied Bach Suite
3. One movement of a substantial sonata for cello and piano; such as Beethoven Op. 69, 1st or 3rd movement, Brahms Op. 38, 1st or 3rd movement, Brahms Op. 99, 1st or 4th movement, Prokofiev Op. 119, 1st or 3rd  movement; Strauss Op. 6, 1st or 3rd movement, played with piano
4. One movement from any chamber work, played with other parts 

Note: All works except for sonatas and chamber music must be performed from memory. 

Final Audition Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please play the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns concerto, please play the whole concerto)
2. Prelude and another movement from an unaccompanied Bach suite
3. A lyrical piece; such as Saint-Saëns The Swan, Fauré Après un Rêve, 3rd movement of Chopin’s sonata, Dvorak Silent wood or Mendelssohn Songs without Words
4. Mozart: Divertimento in E-flat Major, K.563, 1st movement, played with other parts

Note: All works except for sonatas and chamber music must be performed from memory. 

Applicants have the option to apply to the Instrumental and Chamber Music program as an existing piano trio or string quartet.

Pre-Screening Requirements

• One complete multi-movement chamber work

Final Audition Requirements

• Two complete multi-movement chamber works from contrasting styles

Guidelines for Pre-Screening Recordings 

• Recordings must be genuinely performed by you 
• You are required to upload your files in a Video format. Acceptable file types include: .avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv 
• Each of your required pieces should be uploaded to your application as a separate file 
• Clearly label each of the uploaded files with the name of the composer and work/movement
• Recordings must not be edited, nor should any effects such as “reverb” be added 
• Review your recordings before uploading to ensure that they are of good quality and represent your best work to date 
• Upload your recordings to your application in advance of the application deadline (December 15, 2024)

Please note that all Master of Music programs require you to submit a pre-screening recording as part of your application. Faculty will review the recordings and, if you pass the pre-screening round, you will be invited to a final audition.

In addition to your pre-screen repertoire, please also record an informal self-introduction video no more than 3 minutes in length. Please use this as an opportunity to share something that we don't already know from your application. This could be an interesting story about yourself, music or non-music related. Use it as an opportunity to share your personality and let us get to know you better! Please record this video in English.

Final auditions will take place in Tianjin and at select regional locations. Applicants unable to travel to a live audition location must contact the Office of Admissions at admissions@tianjinjuilliard.edu.cn to discuss the circumstances and reasons they cannot audition live, and to request approval of an alternative audition modality.

• The live audition dates and locations are listed below

Memorization

• Unless otherwise specified, all works except for sonatas and orchestral excerpts must be performed from memory. 

 Auditions for percussionists are only available at locations designated with * 

Pre-Screening Requirements

1. One movement from an unaccompanied Bach sonata or partita for violin
2. First movement with cadenza of a concerto from the 19th, 20th or 21st century, such as: Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, or Walton, played with piano
3. First movement of a sonata from a contrasting musical period as the selected concerto, played with piano
4. The following orchestral excerpts:
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 17-99
   • Mozart: Symphony No. 39, 4th movement: beginning to m. 78
   • Strauss: Don Juan, 1st page 

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. Two contrasting movements of an unaccompanied Bach sonata or partita or the complete Bach Chaconne
2. First movement with cadenza of a concerto from the 18th, 19th, 20th or 21st century, such as: Mozart, Haydn, Bartók No. 1 or 2, Beethoven, Berg, Brahms, Britten, Dvořák, Elgar, Korngold, Mendelssohn, Prokofiev No. 1 or 2, Schoenberg, Shostakovich No. 1 or 2, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps No. 5, Walton.
3. The following orchestral excerpts:
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 17-99
   • Strauss: Don Juan, 1st page
   • Mozart: Symphony No. 39, 4th movement: beginning to m. 78
   • Prokofiev: Classical Symphony, 1st movement: beginning to m. 86
   • Brahms: Symphony No. 3, 1st movement: beginning to m. 23 and mm. 57-90
   • Debussy: La Mer, No. 2 "Jeux de vagues": Rehearsal Nos. 19 to 20 and Rehearsal Nos. 33 to 39

Note: All works except for orchestral excerpts must be performed from memory.

 

Pre-Screening Requirements

1. First movement and cadenza of a standard viola concerto from 18th, 20th or 21st century, played with piano
2. One movement from J.S. Bach: Suites for unaccompanied cello, or sonatas and partitas for unaccompanied violin
3. The first movement of a 19th century (romantic) or early 20th century sonata (such as Clarke, Hindemith Op. 11 no. 4, Bowen, etc.), played with piano
4. The following orchestral excerpts:
   • Mozart: Symphony No. 35 "Haffner", 1st movement: beginning to m. 29
   • Mozart: Symphony No. 35 "Haffner", 4th movement: m. 134 to m. 181
   • Mendelssohn: A Midsummer Night's Dream: m. 17 to m. 40 and Letter [C] to [D]
   • Strauss: Don Juan, first page

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. The first movement and cadenza of an 18th, 20th or 21st century concerto
2. One or more movements of a solo sonata or suite from the 19th, 20th, or 21st centuries, totaling at least 8 minutes
3. Two movements from J.S. Bach: Suites for unaccompanied cello, or sonatas and partitas for unaccompanied violin
4. The following orchestral excerpts:
   • Mozart: Symphony No. 35 "Haffner", 1st movement: beginning to m. 29
   • Mozart: Symphony No. 35 "Haffner", 4th movement: m. 134 to m. 181
   • Mendelssohn: A Midsummer Night's Dream: m. 17 to m. 40 and Letter [C] to [D]
   • Strauss: Don Juan, first page
   • Beethoven: Symphony no. 5, 2nd movement: mm. 1- 10 and mm. 49- 59 and mm. 98-106
   • Prokofiev: Symphony no. 1 "Classical", 1st movement: beginning to m. 46 and fourth movement: m. 43-93
   • Brahms: Variations on a Theme by Haydn: Nos 5, 7 and 8

Note: All works except for sonatas and orchestral excerpts must be performed from memory. 

 

Pre-Screening Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please submit the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns concerto, please submit the whole concerto), played with piano
2. One movement from an unaccompanied Bach Suite
3. One movement of a substantial sonata for cello and piano such as Beethoven Op. 69, 1st or 3rd movement, Brahms's Op. 38, 1st or 3rd movement, Brahms's Op. 99, 1st or 4th movement, Prokofiev Op. 119, 1st or 3rd movement; Strauss Op. 6, 1st or 3rd movement,  played with piano
4. Choose two of the following orchestral excerpts:
   • Mozart: Symphony No.35, 4th movement: beginning to m.37 and mm. 134-181 
   • Beethoven: Symphony No.5, 2nd movement: beginning to m. 10 and mm. 49-59 and 98-106 and 114-123 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: [C] to [D] and [N] to [O] 
   • Brahms: Symphony No.2, 2nd movement: beginning through m. 15 
   • Debussy: La Mer: No. 1 "De l'aube à midi sur la mer" Two measures before Rehearsal No. 9 to six measures after Rehearsal No. 9 (top line only) 
   • Strauss: Ein Heldenleben: beginning to five measures after Rehearsal No.5

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. First movement of a standard concerto with cadenza (If you choose Elgar concerto, please play the 1st AND 2nd movements, or the 4th movement. If you choose Saint-Saëns's concerto, please play the whole concerto)
2. Prelude and another movement of an unaccompanied Bach Suite
3. A lyrical piece; such as Saint-Saëns's The Swan, Fauré Après un Rêve, 3rd movement of Chopin’s sonata for cello and piano, Dvořák Silent wood or Mendelssohn Songs without Words
4. All of the following orchestral excerpts:
   • Mozart: Symphony No.35, 4th movement: beginning to m.37 and mm. 134-181 
   • Beethoven: Symphony No.5, 2nd movement: beginning to m. 10 and mm. 49-59 and 98-106 and 114-123 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: [C] to [D] and [N] to [O] 
   • Brahms: Symphony No. 2, 2nd movement: beginning through m. 15 
   • Debussy: La Mer: two measures before Rehearsal No. 9 to six measures after Rehearsal No. 9 (top line only) 
   • Strauss: Ein Heldenleben: beginning to five measures after Rehearsal No. 5

Note: All works except for sonatas and orchestral excerpts must be performed from memory. 

 

Pre-Screening Requirements

1. The first movement of a standard double bass concerto, played without piano
2. The following orchestral excerpts:
   • Mozart: Symphony No. 40, 1st movement: mm. 114-138 
   • Beethoven: Symphony No. 5, 3rd movement: beginning to m. 100  

Note: All works except for sonatas and orchestral excerpts must be performed from memory.

Final Audition Requirements

1. The first movement of a standard double bass concerto with cadenza if applicable
2. One movement from an unaccompanied Bach Cello Suite, or one movement from Hans Fryba Suite in the Olden Style for Double Bass 
3. All of the following orchestral excerpts:
   • Mozart: Symphony No. 40, 1st movement: mm. 114-138 and 191-225 
   • Beethoven: Symphony No. 5, 3rd movement: beginning to m. 100 and mm. 140-218 
   • Brahms: Symphony No. 2, 1st movement: mm. 118-156 

Note: All works except for sonatas and orchestral excerpts must be performed from memory.
 

Pre-Screening Requirements

1. C. P. E. Bach: Sonate in G Major WOTQ 139 (2nd movement Allegro only)
2. A large work, such as Impromptu Op. 86 by Gabriel Fauré or Variations on a Theme in ancient style by Carlos Salzedo
3. The following excerpts:
   • Ravel: Cadenza from Tzigane
   • Berlioz: Symphonie Fantastique, 2nd movement: “Un Bal”. Harp 1st part, beginning to Reh 29 

Note: All works except orchestral excerpts must be performed from memory.

Final Audition Requirements

1. C. P. E. Bach: Sonate in G Major WOTQ 139 (2nd movement Allegro only)
2. A large work such as Impromptu Op. 86 by Gabriel Fauré or Variations on a Theme in ancient style by Carlos Salzedo
3. A 20th century Sonata such as the Paul Hindemith or Germaine Tailleferre harp sonatas
4. Debussy: Danses Sacrée et Profane.
5. The following orchestra excerpts:
   • Ravel: Cadenza from Tzigane
   • Berlioz: Symphonie Fantastique, 2nd movement “Un Bal”. Harp 1st part, beginning to Reh 29 
   • Britten: The Young Person’s Guide to the Orchestra, Variation I (harp cadenza) 
   • Bruch: Scottish Fantasy
     • 3rd movement, 4 mm. after [B] to downbeat of [C]
     • 4th movement, beginning to downbeat of [D]

Note: All works except for orchestral excerpts must be performed from memory.

Pre-Screening Requirements

1. Two contrasting movements of an unaccompanied Sonata, Partita or Suite by J. S. Bach (may be original or a transcription), or from the Solo Sonata in A minor by C. P. E. Bach 
2. The first movement of one of the Mozart concerti (with cadenza). Must be performed from memory, played with piano
3. One of the following solo works:
   • Karg-Elert: Sonata Appassionata
   • Karg-Elert: Chaconne
   • Bozza: Image
   • Hindemith: Eight Pieces
   • Ibert: Pièce
   • Dubois: Incantation and Dance
   • Lipatti: Introduction and Allegro
   • Dohnányi: Passacaglia
   • A virtuoso etude or capriccio (at least two pages in length) of the applicant’s choice 
4. The following orchestral excerpts:
   • Bach: Mass in B minor, Domine Deus, beginning to measure No. 20
   • Beethoven: Symphony No. 3 (Eroica), last movement, mm. 172–200
   • Ravel: Boléro, beginning to Rehearsal No. 1

Final Audition Requirements

Note: At least one work from group 1, 2, or 3 must be performed from memory. 

1. Two contrasting movements from one of the following works by J.S. Bach:
   • E minor Sonata BWV 1034; E Major Sonata BWV 1035; A Major Sonata BWV 1032
2. One slow and one fast movement from a concerto by Mozart (with cadenzas).
3. One of the following solo works:
   • Doppler: Airs valaques
   • Reinecke: Concerto 1st mov, or 2nd & 3rd mov
   • Karg-Elert: Sinfonische Kanzone
   • Ibert: Concerto 3rd mov
   • Dutilleux: Sonatine
   • Casella: Sicilienne & Burlesque
   • Martin: Ballad
   • Jolivet: Chant de Linos
   • Note: You can consult with our faculty through the Office of Admissions about choosing a piece of similar difficulty but not included in this list.
4. A contemporary solo work composed after World War II. (avant-garde style and extended techniques are preferable)
5. Choose three of the following excerpts:
   • Bach: "Aus Liebe will mein Heiland sterben" from St. Matthew's Passion: beginning to m. 13 
   • Beethoven: Leonore Overture No. 3, Op. 72b: mm. 1-36 and mm. 328-360
   • Brahms: Symphony No. 4, 4th movement: mm. 93-105 
   • Dvořák: Symphony No. 8, 4th movement: [D]-[E] 
   • Prokofiev: Peter and the Wolf, “The Bird”
   • Ravel: Daphnis et Chloé, Suite No. 2 (solo only)
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo (solo only)
   • Debussy: Prélude à l’après-midi d'un faune: Rehearsal Nos. 1-3
6. Applicants will be asked to sight read material provided at the audition.

All applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

Pre-Screening Requirements

1. Mozart Concerto first movement (with cadenza), played with piano
2. One slow and one fast etude from Ferling opus 31 
3. The following orchestral excerpts:
   • Bach: Cantata No. 140, aria no. 6: soprano/bass duet, "Mein Freund ist mein!" (My friend is mine!) first 8 measures 
   • Rossini: La Scala di Seta: Pickup to Rehearsal No. 2 to the downbeat of Rehearsal No. 3 (articulations are at the discretion of the performer)
   • Shostakovich: Symphony No. 1, 3rd movement: Beginning to m. 16

Final Audition Requirements 

1. Mozart Concerto first and second movements (with cadenzas)
2. A 19th or 20th century work of at least 6 minutes in length
3. One slow and one fast etude from Ferling opus 31
4. The following orchestral excerpts:
   • Beethoven: Symphony No.3, 2nd movement: beginning solo to mm 56 & 3rd movement: mm 7-28
   • Rossini: La Scala di Seta: Pickup to Rehearsal No. 2 to the downbeat of Rehearsal No. 3  
   • Shostakovich: Symphony No. 1, 3rd movement: Beginning to m. 16

Note: Oboe repertoire does not need to be performed from memory. 
          All applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

Pre-Screening Requirements

1. Mozart: Concerto K. 622: 1st movement, mm. 53-154 and 2nd movement, mm. 1-59, played with piano
2. A fast etude demonstrating the applicant’s technique
3. The following orchestral excerpts:
   • Beethoven: Symphony no. 6, 1st movement: mm. 474-492 and 2nd movement: mm. 68-77 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 1-48

Note: Only the concerto needs to be performed from memory.

Final Audition Requirements 

1. A complete standard concerto
2. A major solo work of the applicant’s choice. This work should be in contrasting style from the concerto
3. An unaccompanied work composed after 1900
4. The following orchestral excerpts:
   • Beethoven: Symphony No. 6, 1st movement: mm. 474-492 and 2nd movement: mm. 68-77 
   • Mendelssohn: A Midsummer Night’s Dream, Scherzo: mm. 1-48 
   • Brahms: Symphony No. 3, 1st movement: mm. 36-46 and 2nd movement: mm. 1-22 
   • Rimsky-Korsakov: Capriccio Espagnol, 1st movement: [A] to [B], and [C] to the end and 3rd movement: 11 measures after K to the end
   • Respighi: Pines of Rome, 3rd movement: pickup to Rehearsal No. 13 until 4 measures before Rehearsal No. 14 
   • Shostakovich: Symphony No. 9, 2nd movement: mm. 1-32 and 3rd movement: mm. 1-17

Note: Only the concerto needs to be performed from memory. 

             All applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

Pre-Screening Requirements

1. Mozart: Bassoon Concerto, 1st, 2nd, and 3rd movements (with cadenzas), played with piano
2. The following orchestral excerpts:
   • Stravinsky: Rite of Spring, opening solos: m. 1 until the third bar of Rehearsal No. 3; and Rehearsal No. 12 until Rehearsal No. 13
   • Ravel: Boléro, solo: Rehearsal No. 2 until Rehearsal No. 3 
   • Rimsky Korsakov: Scheherazade, 2nd movement solo and cadenzas: m. 5 until Rehearsal [A]; and the second bar of Rehearsal [L] until Rehearsal [M] 
   • Tchaikovsky: Symphony No. 4, 2nd movement solo: m. 274 to the end of the movement 
   • Mozart: Le Nozze di Figaro, Overture: mm. 139-171
   • Smetana: Verkaufte Braut Overture: mm1-8; mm 98-111; mm168-176.

Final Audition Requirements 

1. Mozart: Bassoon Concerto, 1st, 2nd and 3rd movements (with cadenzas)
2. A 19th or 20th century work of the applicant’s choice (duration 5 to 20 minutes)
3. The following orchestral excerpts:
   • Stravinsky: Rite of Spring, opening solos: m. 1 until the third bar of Rehearsal No. 3; and Rehearsal No. 12 until Rehearsal No. 13
   • Ravel: Boléro, solo: Rehearsal No. 2 until Rehearsal No. 3 
   • Rimsky Korsakov: Scheherazade, 2nd movement solo and cadenzas: m. 5 until Rehearsal [A]; and the second bar of Rehearsal [L] until Rehearsal [M] 
   • Tchaikovsky: Symphony No. 4, 2nd movement solo: m. 274 to the end of the movement 
   • Mozart: Le Nozze di Figaro, Overture: mm. 139-171
   • Smetana: Verkaufte Braut Overture: mm1-8; mm 98-111; mm168-176.

Note: Bassoon repertoire does not need to be performed from memory.

           All applicants will complete the live audition with a piano accompanist from The Tianjin Juilliard School.

A pre-formed group is eligible to apply for the Quintet Fellowship. In addition to meeting the quintet-specific requirements outlined below, applicants for the Quintet Fellowship must also fulfill all individual instrumental audition requirements, including both pre-screening and final auditions. Please ensure compliance with all detailed requirements for each relevant instrument as listed above.

Pre-screening Audition Requirements 

1. One movement from a standard Woodwind quintet work

2. One representative work from the classical period.

3. Group interview talking about your experience together and group goals.

         *All requirements must be recorded in one unedited take. Movements may be recorded independently.

Final Audition Requirements 

            1.  Nelson Woodwind Quintet

            2.  Jacques Ibert - Trios Pieces breves

 3.  A chosen work later than 1950

*The final audition will also include a live interview with faculty and applicants.

Pre-Screening Requirements

1. A Solo work or movement of major concerto/sonata of the applicant's choice (for example, Böhme/Haydn/Hummel/Tomasi concerti, Brandt Concertpiece No. 1 or 2, etc.) For Haydn or Hummel concerto, exclude 1st movement. May be played with or without piano 
2. The following excerpts:
   • Mussorgsky/Ravel: Pictures - Promenade: beginning to Rehearsal 2  
   • Mahler: Symphony No. 5: beginning to m. 24  
   • Ravel: Piano Concerto in G, 1st movement: Rehearsal 2-3 and Rehearsal 34 to the end of the movement

Final Audition Requirements 

1. Haydn Concerto, 1st movement (no cadenza), or Hummel Concerto, 1st movement
2. Charlier Etude No.2 (Du Style)
3. All of the following orchestral excerpts:
   • Bartók: Concerto for Orchestra, 2nd movement: mm. 90-147
   • Donizetti: Don Pasquale: Act 2, Prelude, solo starting bar 5 until 4 bars after number 1
   • Handel: Messiah, The Trumpet Shall Sound, first 28 bars
   • Mahler: Symphony No. 5, beginning to m. 24 
   • Stravinsky: Petrushka (1947 version), Ballerina's Dance (rehearsal no. 134-139) and Waltz (rehearsal no. 140-151) 
   • Rimsky-Korsakov: Scheherazade; IV. Festival at Baghdad, 1 bar before Rehearsal [C] to Rehearsal [D] and Rehearsal [T] to [U] 

Note: Trumpet repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

Pre-Screening Requirements

1. Choose one of the following:

   • Mozart: Concerto No. 2 1st and 2nd movement

   • Mozart: Concerto No. 4 1st movement (with or without cadenza)

2. Choose one of the following:

   • Richard Strauss: concerto No. 1 1st movement

   • Richard Strauss: concerto No. 2 1^st movement

   • R. Glière: concerto 1st movement (with or without cadenza)

   • Jacob: concerto for Horn and Strings 1^st movement

3. The following excerpts:

   • Brahms: Sym. No. 3. 3rd movement 1^st Horn in C. one measure before Rehearsal [F] until m. 110

   • Richard Strauss: Till Eulenspiegel 1^st Horn in F opening solo: m. 6 through m. 20

   • Brahms: Piano Concerto No. 2. 1^st Horn 1st movement opening m. 1 through m. 6. 3^rd Horn. 1st movement. m. 188 until 198

Note: Horn repertoire does not need to be performed from memory. All concertos may be played with or without piano.

Final Audition Requirements:

1. Mozart: No. 4. 1st movement exposition only
2. R. Strauss: No. 1. 1st movement exposition only
3. The following excerpts:
   • Brahms: Sym. 2. 2nd movement 1^st Horn in H. m. 17 until m. 31.
   • J. S. Bach: Mass in b minor Horn in D. opening to the end. (m. 1 to m. 53)
   • Beethoven: Sym. No. 8. 3rd movement 2^nd Horn in F m. pick up to 45 through m. 78
   • Beethoven: Sym. 7, 1st movement 2^nd Horn in A: m. 89 until m. 106
   • Beethoven: Sym. 9, 3rd movement 4^th Horn pick up to m. 83 until m. 98
   • Anton Bruckner: Sym. No. 4, 1st movement 1^st Horn m. 3 until m. 52
   • César Franck: Sym. in d minor 2nd movement 1^st Horn in F, m. 32 until 49
   • Mahler: Sym. 9, 1st movement 1^st Horn in F. pick up to m.382 until m. 391
   • Tchaikovsky: Sym. 5, 2^nd movement 1^st Horn in F. m. 8 until 28
   • Wagner: Lohengrin 3^rd Act Horn (1-4) in D. m. 16 until 48
   • Wagner: Götterdämmerung, 1^st Horn in F: Siegfried’s Act 1 Short Call, m. 37 through the downbeat of m. 55. (No need to play this one if you choose to play optional excerpt No.1)

Optional extra excerpts (subject to applicant’s own choice):

1. Richard Wagner: Siegfried 2nd Act, 1^st Horn long call
2. Richard Strauss: Ein Heldenleben, 1^st Horn in F. m. 1 until m. 17

Note: Horn repertoire does not need to be performed from memory. All concertos may be played with or without piano.

Pre-Screening Requirements

1. David: Concertino, Op.4,1st movement. May be played with or without piano 
2. One Etude From Melodious Etudes Book 1 by Joannes Rochut
3. The following excerpts:
   • Mozart: Requiem, "Tuba mirum", second trombone solo
   • Ravel: Bolero, 1st Trombone:  2nd measure. of Rehearsal [10] to Rehearsal [11]
   • Rossini: 'La Gazza Ladra' (one trombone version): mm. 115-135 and mm. 275-291 and mm. 432-442

Final Audition Requirements

1. Hindemith: Sonata for trombone and piano (complete) OR another complete work from the 20th or 21st centuries.
2. Choose one of the following:
   • David: Concertino, Op. 4, 1st movement 
   • Albrechtsberger: Concerto, complete
3. The following excerpts:
   • Mozart: Requiem, "Tuba mirum", second trombone solo
   • Ravel: Bolero,1st Trombone:  2nd measure of Rehearsal [10] to Rehearsal [11]
   • Rossini: 'La Gazza Ladra' (one trombone version): mm. 115-135 and mm. 275-291 and mm. 432-442
   • Saint-Saëns: Symphony No. 3, 1st Trombone: Rehearsal [Q] to Rehearsal [R]
   • Bartok: Miraculous Mandarin, second trombone: Rehearsal [71] until one measure after Rehearsal [74]
   • Hindemith: Symphonic Metamorphoses, 1st Trombone: "Turandot": Rehearsal [H] to Rehearsal [J] and "Marsch" Rehearsal [G] to the end

Note: Tenor trombone repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

 

Pre-Screening Requirements

There are no pre-screening requirements for bass trombone.

Final Audition Requirements 

1. Lebedev: Concerto in One Movement
2. One major solo work of applicant's choice
3. J.S. Bach: Suite No. 5 for unaccompanied cello, Sarabande
4. The following excerpts:
   • Wagner: Das Rheingold, Scene 4: last 15 measures
   • Wagner: Ride of the Valkryries
     • Pick-up to Rehearsal [3] to 3 mm. after Rehearsal [6]
     • Pick-up to 5 mm. after Rehearsal [10] to downbeat of Rehearsal [12]
   • Haydn: The Creation, Rehearsal [26] to [C]
   • Berlioz: Hungarian March, 6 mm. before Rehearsal [4] to 2 mm. after Rehearsal [5]
   • Strauss: La Bourgeois Gentilhomme
     • 3rd movement: beginning to Rehearsal [38]
     • 4th movement: Rehearsal [46] to 5 mm. after Rehearsal [52]
     • 4th movement: Rehearsal [72] to Rehearsal [75]
   • Kodaly: Hary Janos, 4th movement
     • Beginning to 7 mm. after Rehearsal [11]
     • Poco meno mosso before Rehearsal [6] to fermata
   • Schumann: Symphony No. 3, 4th movement: mm. 1-18 

Note: Bass trombone repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.
 

Pre-Screening Requirements 

1. Ralph Vaughan Williams: Concerto for Bass Tuba, Movement 1: Beginning to Reh. 11
2. Hector Berlioz : Hungarian March, Reh. 20 to 3^rd measure of Reh. 21
3. Richard Wagner: Prelude to Die Meistersinger, Reh. J to Reh. L
4. Respighi: Fontane di Roma, La Fontana di Trevi: pickup to Reh. 11 to downbeat Reh. 14

Final Audition Requirements 

1. Vaughan Williams: Concerto for Tuba, 1st and 2nd movements only
2. A complete solo work for tuba of the candidate's choice
3. All of the following orchestral excerpts:

• Berlioz: Hungarian March from The Damnation of Faust, Reh. 20 to 3^rd measure of Reh. 21
• Stravinsky: Petrouchka (1947) Peasant with Bear, rehearsal 188-192
• Mahler: Symphony No. 1, 3rd movement, four bars before rehearsal 3 to 4
• Wagner: Prelude to Die Meistersinger, rehearsal J to L
• Prokofiev: Symphony No. 5, 1st movement, rehearsal 3 to 6
• Gershwin: An American in Paris, rehearsal 67 to 68

Note: Tuba repertoire does not need to be performed from memory. All final audition repertoire will be performed without piano accompaniment.

. 

A pre-formed group is eligible to apply for the Quintet Fellowship. In addition to meeting the quintet-specific requirements outlined below, applicants for the Quintet Fellowship must also fulfill all individual instrumental audition requirements, including both pre-screening and final auditions. Please ensure compliance with all detailed requirements for each relevant instrument as listed above.

Pre-screening Audition Requirements 

1. One movement from a standard brass quintet work

2. One representative work from the Renaissance period (16-17th C.)

3. Group interview talking about your experience together and group goals

*All requirements must be recorded in one unedited take. Movements may be recorded independently.

Final Audition Requirements 

1.  Brass Quintet No. 1, Op. 5 - Victor Ewald (1st mvt. ONLY) 

2.  One chosen work from 1950-present

3.  Mini Overture - Witold Lutoslawski

4. One representative work from the Renaissance period (16th-17th C.)

*The final audition will also include a live interview with faculty and applicants.

Pre-Screening Requirements 

Mallets:

1. Two mallets – any 2 mallet movement from J.S. Bach Sonatas and Partitas for solo violin or Suites for solo cello – no repeats
2. Four mallets – 3-4 minute excerpt from a work of your choice 

Snare Drum:

1. Long Roll ♩=80       

     2. Delecluse – Etude No. 1 from 12 Etudes pour caisse claire. Play beginning to downbeat of m. 46 ♩. = 76 

     3. Rudimental solo or etude of your choice: (e.g. Pratt, Tompkins or Wilcoxon)

Timpani:

1. Long Roll ♩=80

     2. Solo or etude of your choice (e.g. Goodman, Firth, Delecluse, Hochrainer or Woud)

Final Audition Requirements

Mallets:

1. Two-mallet work of your choice
2. Four-mallet work of your choice
3. 4 standard orchestral excerpts (Xylophone & Glockenspiel)
4. Knowledge of all major and minor scales and arpeggios 
5. Sight reading

Snare Drum:

1. Solo of concert etude of your choice (e.g. Delecluse, Peters, Cirone, Macarez or equivalent)
2. Rudimental solo or etude of your choice (e.g. Pratt, Tompkins, Markovich, Wilcoxon or equivalent)
3. 3 standard orchestral excerpts
4. Long Roll (same as in pre-screening)
5. Sight reading

Timpani:

1. Solo or etude of your choice (e.g. Goodman, Firth, Hochrainer, Woud, Delecluse or equivalent)
2. 3 standard orchestral excerpts
3. Sight reading 

Note: Percussion repertoire does not need to be performed from memory.

*The live audition and the prescreening repertoire may overlap, as long as both programs adhere to the guidelines. 

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