A STUDY OF ORCHESTRAL AUDITION REPERTOIRE

FOR VIOLIN

A DISSERTATION IN Performance

Presented to the Faculty of the University of Missouri-Kansas City Conservatory of Music

in partial fulfil1ment of the requirements for the degree

DOCTOR OF MUSICAL ARTS

by LAWRENCE ANTHONY BRANDOLINO

BoMo, Northwestern University, 1980 MoM., Northwestern University, 1982

Kansas City, Missouri 1997

----- -------------------

© 1997

LAWRENCE ANTHONY BRANDOLTNO

ALL RIGHTS RESERVED

A STUDY OF ORCHESTRAL AUDITION REPERTOIRE

FOR VIOLIN

Lawrence Anthony Brandolino, Doctor of Musical Arts

University of Missouri-Kansas City, 1997

ABSTRACT

Very few colleges have a career-intensive program of orchestral audition

preparation in their applied violin curriculum. This dissertation attempts to satisfY

the need for a curriculum of audition repertoire study in the applied lesson. To

reach this goal, the author surveyed 373 excerpts from the violin audition repertoire

lists of eighteen professional orchestras to determine their most common excerpts.

The focus of this document is on performance problems encountered in these

excerpts with recommended solutions, such as bowings, fingerings, and

metronomic markings added. Each marked excerpt is shown in a full score context

in order to demonstrate how it relates to the other instruments melodically,

harmonically, rhythmically, and texturally. Problems and recommended solutions

to non-traditional techniques such as glissando, collegno, and pizzicato are also

examined. The dissertation concludes with interviews of concertmasters and other

orchestral musicians discussing their views on audition preparation and the

audition process.

Research methods consisted of: (1) selecting and writing to forty-five

11

professional orchestras from a list of 856 American orchestras for the excerpt

survey; (2) examining through personal performance, consulting numerous

editions, and analyzing several recordings of the twenty-six most-often-used

excerpts for bowings, fingerings, metronomic markings, and problems such as

spiccato, shifting, and irregular bowing patterns; (3) consulting books and

periodical articles about auditions; and (4) conducting interviews regarding the

audition process with current and fonner concertmasters of the Baltimore

Symphony, Cleveland Orchestra, Philharmonia of Kansas City, Pittsburgh

Symphony, and Saint Louis Symphony.

This abstract of 246 words is approved as to form and content.

111

The undersigned, appointed by the Dean of the Conservatory of Music, have

examined a dissertation titled "A Study of Orchestral Audition Repertoire for Violin,"

presented by Lawrence Anthony Brandohno, candidate for the Doctor of Musical Arts,

and hereby certify that in their opinion it is worthy of acceptance.

Merton Shatzkin, Ph.D. Conservatory of Music

~on\efvatory of Music

J. Franklin Fenley, Conservatory of Music and Department of Music, Central Missouri State University

¥M1/ a· I11vWtt/Lc Jo A. Mueter, M.A. Conservatory of Music

Date

7-7 /111

021 Ittt

TABLE OF CONTENTS

ABSTRACT .. , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

LIST OF ILLUSTRATIONS ...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VI

LIST OF TABLES ............ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Vlll

ACKNOWLEDGMENTS ........ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. IX

Chapter

1. INTRODUCTION .......................................... .

2. PERFORMANCE PROBLEMS IN NON-TRADITIONAL TECHNIQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

3. MOST-OFTEN-USED AUDITION EXCERPTS. . . . . . . . . . . . . . . . . .. 11

4. A CURRICULUM OF AUDITION REPERTOIRE STUDY. . . . . . . . .. 18

5. AUDITION PREPARATION AND THE AUDITION PROCESS. . . .. 22

Appendix

A. MOST-OFTEN-USED AUDITION EXCERPTS IN FULL SCORE.... 26

B. LETTER OF PERMISSION ................................. " 176

C. SAMPLE COpy OF AUDITION LIST REQUEST LETTER AND AUDITION REPERTOIRE LISTS . . . . . . . . . . . . . . . . . . . . . . . .. 178

D. AUDITION REPERTOIRE LISTS SURVEy ..................... 183

REFERENCE LIST ............................................ " 187

VITA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 192

v

LIST OF ILLUSTRATIONS

Example Page

1. Ravel, La Valse, Two before Rehearsal No. 27 to No. 27 .... , . . . . . . . . 5

2. Ravel, La Valse, Rehearsal No. 29 to Two after No. 29 .... . . . . . . . . . .. 5

3. Berlioz, Fantastic Symphony, Movement 5, Measures 448-55 ....... . .. 6

4. Bruckner, Symphony No. 4, Movement 1, Measures 55-70 ... .. .... . .. 7

5. Bartok, Concerto for Orchestra, Movement 5, Measures 489-94 . . . . . . .. 8

6. Tchaikovsky, Symphony No 4, Movement 3, Measures 76-97 .. . . . . . .. 9

7. R. Strauss, Don Juan, Measures 1-62 .... . . . . . . . . . . . . . . . . . . . . . . . .. 27

8. Schumann, Symphony No.2, Movement 2, Measures 1-98 ............ 39

9. Schumann, Symphony No.2, Movement 2, Measures 362-99 .......... 47

10. Mendelssohn, A Midsummer Night's Dream, Scherzo, Measures 17-99 ., 51

11. Mozart, Symphony No. 39, Movement 2, Measures 1-27 . . . . . . . . . . . .. 56

12. Mozart, Symphony No. 39, Movement 2, Measures 96-125 ..... . . . . .. 59

13. Mozart, Symphony No. 39, Movement 4, Measures 1-104 .. . . . . . . . . .. 63

14. Brahms, Symphony No.1, Movement 1, Measures 1-70 . . . . . . . . . . . . .. 70

15. Brahms, Symphony No.4, Movement 3, Measures 1-44 . . . . . . . . . . . . .. 76

16. Brahms, Symphony No.4, Movement 3, Measures 105-67 . . . . . . . . . . .. 83

17. Mendelssohn, Symphony No, 4, Movement 1, Measures 1-110 .. . . . . .. 89

18. Mendelssohn, Symphony No.4, Movement 1, Measures 507-86 . . . . . .. 96

19. Beethoven, Symphony No.3, Movement 3, Measures 1-48 .. . . . . . . . .. 101

VI

List of Illustrations. Continued.

Example Page

20. Beethoven, Symphony No.9, Movement 3, Measures 99-114 104

21. Brahms, Symphony No.3, Movement 1, Measures 1-23 ....... . . . . .. 113

22. Brahms, Symphony No.4, Movement 1, Measures 392-440 .... . . . . .. 117

23. Mozart, Symphony No. 35, Movement 4, Measures 1-37 ............. 126

24. Mozart, Symphony No. 35, Movement 4, Measures 110-39 ........... 130

25. Brahms, Symphony No. 2, Movement 1, Measures 118-55 ........... 134

26. Brahms, Symphony No.2, Movement 2, Measures 12-54 .. . . . . . . . . .. 139

27. Brahms, Symphony No.4, Movement 2, Measures 87-100 . . . . . . . . . .. 145

28. Brahms, Symphony No.4, Movement 4, Measures 33-80 .. . . . . . . . . .. 148

29. Mozart, Symphony No. 39, Movement 1, Measures 1-14 ............. 158

30. Mozart, Symphony No. 39, Movement 1, Measures 26-99 ............ 161

31. Mozart, Symphony No. 35, Movement 1, Measures 1-66 ............. 166

32. Mozart, Overture to liThe Magi c FI ute," Measures 16-43 .... . . . . . . . .. 172

Figure

1. Finger Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16

2. Keeping Fingers Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16

3. Covering the Fifth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17

4. Omission of Notes in a Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17

Vl1

LIST OF TABLES

Table Page

1. A List of Performance Problems by Excerpt (In Order of Frequency of Requirement Beginning with the Most-Often-Used Excerpt) .. . . . . . .. 13

2. A List of Audition Excerpts by Performance Problem. . . . . . . . . . . . . . .. 14

3. A Comparison of a Traditional Undergraduate/Graduate Violin Syllabus with One Including Orchestral Repertoire . . . . . . . . . . . . . . .. 19

Vlll

ACKNOWLEDGMENTS

I would like to thank my Supervisory Committee for their support and time

spent evaluating this dissertation: Dr. Jane Carl, Dr. J. Franklin Fenley, John A.

Mueter, Dr. LeRoy Pogemiller, and especially Dr. Merton Shatzkin, Chairman of

the Committee. My appreciation to Benny Kim, Diana Caddy, David Halen,

Samuel Thaviu, Linda Thomssen, and my colleagues in the Department of Music at

Central Missouri State University for their advice and encouragement. Nonnal1y

audition repertoire lists are sent by orchestras to applicants for positions. Despite

this, as a non-applicant, I was able to receive lists and am grateful to the following

organizations for their help: Boston Symphony Orchestra, The Cedar Rapids

Symphony, Charleston Symphony Orchestra, Chicago Symphony Orchestra,

Cincinnati Symphony Orchestra, Colorado Springs Symphony Orchestra, The

Columbus Symphony Orchestra, Houston Symphony, The Kansas City Symphony,

National Repertory Orchestra, North Carolina Symphony, Omaha Symphony, The

Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Rochester Philhannonic

Orchestra, Saint Louis Symphony Orchestra, South Dakota Symphony, and The

Tulsa Philharmonic.

Special gratitude go to my parents, Lucas and Lucia Brandolino, Linda

Arnsmeyer for her unselfish assistance typing the dissertation, and to my wife,

Amy, for her assistance, patience, love, and support during this project.

IX

CHAPTER 1

INTRODUCTION

The majority of professional performing violinists spend the bulk of their

career playing in symphony orchestras. Violinists gainfully employed as concert

soloists, chamber music artists, or as non-orchestral performers in conjunction with

a secondary teaching position are in the minority. The supply for orchestral

positions far exceeds the demand. Even so, it seems that college performance

majors train more as concert soloists or chamber music players than as orchestral

players. Perhaps there exists a disparity between students' preparation during

college and what they actually encounter when auditioning for a realistic career,

such as an orchestral position. There may be several reasons for this: (1) solo

literature might be more interesting to practice, as orchestral parts are incomplete

without the entire orchestral texture; (2) many teachers might assume that students

get enough orchestral playing experience in their college orchestras; (3) teachers

might feel that orchestral parts, which are accompanimental in nature, have no

pedagogical value; and (4) teachers and students might presume that it is safe to

play the same part with many others in a section because mistakes can be

concealed within a thick texture or loud dynamics in unexposed passages. The

danger in the latter is not only permitting mistakes, but not noticing problems such

as tone quality and intonation as a result ofthe texture and dynamics.

Unfortunately in an orchestral audition, the applicant plays alone where every

1

2

detail of the playing is heard.

It is important to continue to train promising students for chamber music

and solo careers as long as they understand the market for these scarce professions.

More emphasis should be placed, however, on the importance of orchestral

repertoire study in addition to the skills obtained through study of scales, etudes,

sonatas, short pieces, and concertos. Students need to be aware of the realistic

market for performing violinists if they are to be adequately prepared for a

professional career upon graduation. Further discussion of this can be found in

Chapter 5.

Not many colleges have a career-intensive program of orchestral audition

preparation in their undergraduate or graduate applied violin curriculum. The

author has found no such degree program offered other than the Master of Music

degree in Orchestral Performance at the Manhattan School of Music in New York

City. At some schools, in order for a student to study orchestral literature privately,

he or she can propose an independent study or special projects course in orchestral

repertoire. This has occurred with myself and a number of violin students

throughout the country. In my case, the course was taught for one quarter at

Northwestern University by Edgar Muenzer and Charles Pickler from the first

violin section of the Chicago Symphony Orchestra. It was treated like an applied

lesson, meeting one hour every week and covering a variety of orchestral excerpts

for violin.

This dissertation attempts to satisfy the need for a curriculum of audition

repertoire study in the applied violin lesson. A planned curriculum is presented in

Chapter 4. To reach this goal, the author surveyed 373 excerpts from the audition

repertoire lists of eighteen professional orchestras to determine their most common

excerpts. The focus of this document is on performance problems encountered in

these excerpts with recommended solutions, such as bowings, fingerings, and

metronomic markings added. All excerpt examples come from first violin parts

except Example 32, which is from a second violin part. When referring to pitch

names, the more common Helmholtz system is used, where middle C is written as

c l (Shatzkin 1993,3). Beginning on page 28 each marked excerpt is shown in a

3

full score context in order to demonstrate how it relates to the other instruments

melodically, harmonically, rhythmically, and texturally. These excerpts are also

intended to be used as a course of study (presented in Chapter 4) in conjunction

with Orchestral Excerpts, volumes 1,2, and 3, by Josef Gingold. The problems and

recommended solutions to non-traditional techniques such as glissando, col legno,

and pizzicato are examined in Chapter 2 and may also serve as a course of study.

The dissertation concludes with interviews of concertmasters and other orchestral

musicians discussing their views on audition preparation and the audition process.

Research methods consisted of: (l) selecting and writing to forty-five

professional orchestras from a list of 856 American orchestras (Musical America

1996,266-368) for the excerpt survey (see Appendix C, page 178); (2) examining

through personal performance, consulting numerous editions, and analyzing several

recordings of the twenty-six most-often-used excerpts for bowings, fingerings,

metronomic markings, and problems such as spiccato, shifting, and irregular

bowing patterns; (3) consulting books and periodical articles about auditions; and

(4) conducting interviews regarding the audition process with current and former

concertmasters of the Baltimore Symphony, Cleveland Orchestra, Philharmonia of

Kansas City, Pittsburgh Symphony, and Saint Louis Symphony.

CHAPTER 2

PERFORMANCE PROBLEMS IN NON-TRADITIONAL

TECHNIQUES

One way of studying orchestral literature is by using published excerpt

books. These parts do not include a thorough examination of non-traditional

techniques such as glissando, collegno, tremolo, suI ponticello, and pizzicato

which appear in many orchestral works of the nineteenth and twentieth centuries.

Some etude books, primarily Hypostasis: Twelve Studies in Modem Violin

Virtuosity by Adia Ghertzovici, provide a few exercises with this material

(Ghertzovici 1975, 1-27) but do not fully address the problem. Non-traditional

technique exercises need to be incorporated into the training of orchestral

violinists. This chapter provides a brief survey of those problems with

recommended solutions.

Glissando

Glissandos on one string do not pose many problems, but cross-string

glissandos are difficult to execute. Ravel's La Valse offers good examples of cross­

string glissandos. Most of the range of the instrument is required (see Example 1,

page 5). The execution of this example would not be effective if played as a true

glissando on the G string as implied because of the difficulty in finding the top g3

after only one beat rest. In addition the quality of sound would be thin and the

dynamic level would be less than ff because a very short length of string is

4

vibrating in that high position.

n

~,I~ • i ~1 11 .

Example 1. Ravel, La Valse, Two before Rehearsal No. 27 to No. 27. (Unless otherwise stated, all musical examples come from public domain works.) Reprinted from Maurice Ravel, La Valse, Durand et Cie. 39 (Paris, 1921).

5

The execution of this glissando involves all four strings in four continuous

steps: (1) slide with the third finger on the E string down to a2 in first position; (2)

using the first finger for the next three steps, slide from g#2 on the A string to the

open a l ; (3) then slide from g#1 on the D string to the open d l ; and (4) slide from

c#l to the open g (Mary Ann Greif, violin masterclass, 1982). The approximate

three-second duration of this glissando should be evenly timed across all four

strings.

Performing Example 2 on one string would be impractical for the same

reasons as in Example 1. Again the execution is in four continuous steps but

slightly different than Example 1 because of the ascending glissando: (1) repeat

step 1 above, (2) slide with the first finger from g#2 on the A string down to bbl,

n JI. !

~~:Bh~,: Example 2. Ravel, La Valse, Rehearsal No. 29 to Two after No. 29. Reprinted from Maurice Ravel, La Yalse, Durand et Cie. 42 (Paris, 1921).

(3) slide up with the first finger from bh I to third finger g#2 on the A string, (4)

then slide from a2 on the E string up to g3 with the first finger.

Col Legno

6

Many violinists play collegno by tilting the stick away from the bridge and

bow with a crooked wrist. This method is effective but somewhat restrictive in

faster tempos because the wrist will tend to lock. For a more facile execution of

the collegno and for more control in faster tempos, tilt the stick towards the bridge

by straightening the thumb. An extended collegno passage occurs in the FantastiQ

Symphony of Berlioz. Taking into consideration the quick tempo of Example 3

and its original irregular bowing pattern, the use of a ricochet bowing is appropriate

for the sixteenth notes.

n '1 '1'+8 V ~ v n v n V r: $,,,,, e.

, HHfRWICWCCPltlHEctltitrrttltt!V'"tIC"fffffluueeClcilltEEI -1/ Irq""

Example 3. Berlioz, Fantastic Symphony, Movement 5, Measures 448-55. Reprinted from Hector Berlioz, Fantastic Symphony, W.W. Norton & Co., Inc. 188-89 (New York, 1971).

Tremolo

Continuous use of tremolo (see Example 4, page 7) can be fatiguing to the

bow arm. The symphonies of Bruckner are notorious for their abundance of

tremolo passages. In the Symphony No.4 example, the melodic tremolos in

measures 57 to 62 and 65 to 70 are of primary importance. Occurring

simultaneously are similar melodies and rhythms which are in the woodwinds and

7

the brasses. Bow ann strength should be used for the melodic tremolos but reduced

for the non-melodic tremolos. The latter, appearing in measures 55 to 56 and 63 to

64, are accompanimental and of secondary importance. Even though the marking

is fl, clarinets, bassoons, and the remaining strings are playing thematic material.

ff

I ~

Example 4. Bruckner, Symphony No.4, Movement 1, Measures 55-70. Reprinted from Anton Bruckner, IV. Symphonie Es-Dur [Symphony No.4 in E-flat Major], Musikwissenschaftlicher Verlag 6-7 (Vienna, 1953).

So the melody can emerge through the loud volume of sound, it is suggested that

the first down-bow stroke of the tremolo be attacked then the dynamic dropped to f

for two measures. This reduction of dynamic can lessen the right-arm fatigue most

often associated with the continuous playing of tremolos.

Sui Ponticello

The technique of suI ponti cello is more commonly used in the twentieth

century than it was in the nineteenth century. The performance problem with this

technique is controlling the bow in order to remain close to the bridge, especially

during an extended passage. An effective suI ponticello sounds very nasal and

penetrating from the increased amount of audible overtones. The effect should

8

sound unusual as implied by the indications "normal," "natural," or "ordinary" when

the usual sound returns (Shatzkin 1993,25).

An extended suI ponticello appears in a forty-three measure long passage in

Bartok's Concerto for Orchestra (see Example 5). Bartok specifies in the score that

Example 5. Bartok, Concerto for Orchestra, Movement 5, Measures 489-94. Copyright 1946 Hawkes & Son (London) Ltd., Copyright Renewed. Reprinted by pennission of Boosey & Hawkes, Inc.

the sui ponti cello is to be played "as near the bridge as possible" (Bartok 1946,

129). The passage poses more problems, including playing consistently p.p and

making smooth string crossings. Practicing these problems and becoming

comfortable with them before adding the sui ponticello is recommended.

Controlling the bow in order to remain close to the bridge can be made easier by

moving the right arm and bow back so that the contact point changes.

Pizzicato

This section only deals with right-hand pizzicato and its problems since

left-hand pizzicato is not often required in orchestral music. Quick changes from

arco to pizzicato and conversely present problems of coordination: (1) setting the

right hand for the pizzicato and (2) gripping the bow for the arco. In most cases

the bow grip must be retained while playing pizzicato with an extended finger as in

Ravel's La Valse, rehearsal no. 60. In some cases the pizzicato can be played with

9

the left hand to accommodate the arco.

The entire third movement of Tchaikovsky's Symphony No.4 (see Example

6) requires the exclusive use of right-hand pizzicato. Problems encountered here

are accuracy, right-hand fatigue, speed, and dynamics. Playing this passage with

CLj.Lj.1 If ~ I

InnIJHJjpU!~'UI, r rlrr-rIUnl·.tJIJrn±fi#d

4 4 87 4 4 D b~ e 1 'E~ ,. ~ , : riC j tktEttf I· ; J ,g £8 i !: i I ElF U 14913 ' I! ,n I ' L f , I! d1l

f f p f I

Example 6. Tchaikovsky, Symphony No.4, Movement 3, Measures 76-97. Reprinted from Peter Ilyitch Tchaikovsky, Fourth, Fifth and Sixth Symphonies, Dover Publications, Inc. 85 (New York, 1979).

the right thumb placed or not placed against the fingerboard is a personal matter as

is playing pizzicato with the index or middle finger. Placing the thumb against the

fingerboard may improve accuracy but limits the speed at which the passage can be

performed. With no thumb, there is freer hand movement, more flexibility, and

less tension in the right hand. Practicing slowly and gradually increasing the tempo

with a metronome is recommended.

A callus on the index finger may cause notes to sound louder than desired.

This is due to the hard and thick skin of the callus plucking the string in the same

manner as a plectrum plucking a guitar string. If this is the case, plucking the

string with the middle finger is suggested. This finger has more fatty tissue

(Thomas 1993,2000) than the index finger, thus creating a softer dynamic which is

10

especially useful in measures 77 to 90 (see Example 6, page 9).

The contact point of the pizzicato finger should be close to the end of the

fingerboard where there is more plucking space between strings as opposed to the

middle of the fingerboard. The ~ dynamic in measures 91,92,95, and 96 can

be executed by plucking closer to the bridge without producing an undesirably

harsh sound. Practicing one note at a variety of dynamic levels and contact points

can help improve the execution of dynamics in pizzicato.

Fingering decisions in pizzicato passages are important because the string

will be more resonant when its length is f,Tfeater. If the passage in Example 6 is

played in a higher position, such as third position, the pizzicato will tend to have a

drier quality, so first- and second-position fingerings are suggested. Using no open

strings is recommended since the open-string sound has a tendency to be louder

than fingered notes and may affect the evenness of the passage. If open strings are

used, they can be played with a lighter touch. Avoidance of the strident E string

during measures 82 to 89 is advised considering the character of this excerpt.

Practicing pizzicato passages arco may help with fingering decisions.

Instructional material focussing on glissando, col legno, tremolo, sui

ponti cello, pizzicato, and their performance problems is rare. This chapter has

presented only a survey of the most significant non-traditional orchestral

techniques and their problems. Instruction and practice of these techniques is an

important component in the training of orchestral violinists.

CHAPTER 3

MOST -OFTEN-USED AUDITION EXCERPTS

This chapter offers a compilation of performance problems associated with

the twenty-six most-often-used violin audition excerpts. The excerpts appear on

pages 28 to 175 (Examples 7 to 32) and were gathered from the survey in Appendix

D. Eighteen American orchestras, representing a variety of geographical locations

and budgets, responded to the survey. The orchestras surveyed are not classified by

population, but by annual operating budget (Musical America 1996,226). The

budget categories are: (1) "AA" or major orchestras (Boston, Cincinnati, Chicago,

Houston, Philadelphia, Pittsburgh, and Saint Louis) $10,000,000 and higher; (2)

"A" orchestras (Columbus, Kansas City, North Carolina, and Rochester) between

$3,600,000 and $10,000,000; (3) "B" orchestras (Cedar Rapids, Charleston,

Colorado Springs, Omaha, and Tulsa) $1,050,000 to $3,600,000; and (4) "e"

orchestras (National Repertory and South Dakota) between $260,000 and

$1,050,000.

These orchestras sent their lists of excerpts and the number of orchestras

requiring each excerpt was tallied. Some orchestras specified which movement or

measures of a movement were required while other orchestras were not as specific.

Regarding the latter, if an orchestra asked for Schumann's Symphony No 2, all of

the movements were tallied separately, even though an experienced auditioner

knows that the second movement, Scherzo, will probably be the only movement

11

requested. This is also indicated by the frequency of requests for the Scherzo on

many audition lists. My own experience on audition committees and as an

auditioner, along with interviews of concertmasters from major orchestras and \

specific requirements on some lists, have helped determine the locations in an

12

excerpt that are generally required. The twenty-six excerpt examples are based on

that knowledge.

The most noticeable results ofthe survey were the sixteen requirements of

R. Strauss' Don Juan, twelve of the Scherzo from Schumann's Symphony No.2,

and eleven of the Scherzo from A Midsummer Night's Dream by Mendelssohn.

The concertos most often used were the first movements of the following: (1)

Brahms (ten), (2) TChaikovsky (nine), and (3) Sibelius (nine). Additional

repertoire was tallied (see Appendix D) including more violin excerpts,

concertmaster and associate/assistant concertmaster solos, first violin parts of string

quartets, and solo pieces. This list puts into perspective the scope of the repertoire

violinists could encounter at auditions. There are approximately 838 other

professional orchestras in the United States (from Musical America's listing of 856

orchestras) and many foreign orchestras that might ask for other material. The lists

in this dissertation do not include repertoire that might be required by foreign

orchestras.

Problems Encountered in the Excerpts

Tables 1 and 2 cross-reference performance problems with their corresponding

excerpts. The most striking feature of Table 1 is the large amount of performance

problems with excerpt example numbers 7, 8,9, 11, 12, 13, 15, 16, 17, 18, and 25.

This does not necessarily mean that the other excerpts are not also difficult.

TABLE 1

A LIST OF PERFORMANCE PROBLEMS BY EXCERPT (IN ORDER OF FREQUENCY OF REQUIREMENT BEGINNING WITH THE

MOST -OFTEN-USED EXCERPT)

Composer, Excerpt Name Example Number Performance Problems

13

R. Strauss, Don Juan ................ 7 ....... arpeggio, chromatic, shifting, spiccato, tempo

Schumann, Sym. No.2, mvt. 2 ..... .. 8, 9 .... " arpeggio, chromatic, extension, shifting, spiccato, tempo

Mendel., Mid. Nt. Orm., Scherzo ...... 10 ....... shifting, spiccato, tempo Mozart, Sym. NQ. 39, mvt. 2 ........ 11, 12 ... " accompaniment, extension,

legato, ornamentation, shifting

Mozart, Sym. No. 39, mvt. 4 ......... 13 ....... extension, irregular bowing, shifting, spiccato, tempo

Brahms, Sym. No.1, mvt. 1 .......... 14 ....... accent, legato, martele, shifting

Brahms, Sym. No.4, mvt. 3 ........ 15, 16 ...... arpeggio, enharmonic, extension, martele, shifting, tempo

Mendel., Sym. NQ. 4, mvt. 1 ........ 17, 18 ...... legato, ornamentation, shifting, spiccato, tempo

Beethoven, Sym No.3, mvt. 3 ........ 19 ....... spiccato Beethoven, Sym No.9, mvt. 3 ........ 20 ....... legato, shifting, rhythm Brahms, Sym. NQ. 3, mvt. 1 .......... 21 ....... arpeggio, expression Brahms, Sym. No.4, mvt. 1 .......... 22 ....... arpeggio, extension, martele,

shifting Mozart, Sym. No. 35, mvt. 4 ........ 23,24 ... " irregular bowing, shifting,

spiccato, tempo Brahms, Sym. NQ. 2, mvt. 1 .......... 25 ....... martele, legato, rhythm,

shifting, skipping strings Brahms, Sym. No.2, mvt. 2 ........ .. 26 ....... legato, shifting Brahms, Sym. NQ. 4, mvt. 2 .......... 27 ....... expression, shifting Brahms, Sym. No.4, mvt. 4 ........... 28 ....... bariolage, extension, legato,

shifting

Table 1. Continued.

Composer, Excerpt Name Example Number

Mozart, Sym. No. 39, mvt. 1 ....... 29,30 ... . Mozart, Sym. No. 35, mvt. 1 ......... 31 .... . Mozart, Magic Flute Ov., ............ 32 ..... .

Performance Problems

legato ornamentation, tempo accent, accompaniment,

spiccato

14

Note: Some perfonnance problems were adapted from James E. Smith, 1966, Using orchestral excerpts as study material for violin, Urbana, Illinois: American String Teachers Association.

TABLE 2

A LIST OF AUDITION EXCERPTS BY PERFORMANCE PROBLEM

Perfonnance Problem Example Number

accent . . . . . . . . . . . . . . . .. 14, 32 accompaniment .......... 12, 32 arpeggIo ............... 7,8,9,15,16,21,22 bariolage .............. , 28 chromatic . . . . . . . . . . . . .. 7, 8, 9 enharmonic . . . . . . . . . . . .. 16 expreSSIOn .............. 21, 27 extension .... , .......... 8,9,11,12,13,15,16,22,28 irregular bowing . . . . . . . .. 13, 24 legato . . . . . . . . . . . . . . . .. 11, 12, 14, 17, 18,20,25,26,28, 29, 30 martele ............... , 14, 15, 16,22,25 ornamentation . . . . . . . . . .. 12, 17, 18, 31 rhythm ..... " ........... 20, 25 shifting ............ " .. 7,8,9,10,11,12, 13, 14, 15, 16, 17,18,20,

22,23,24,25,26,27,28 skipping strings .......... 25 spiccato ................ 7,8,9,10,13,17,18,19,24,32 tempo. . . . . . . . . . . . . . . .. 7,8,9, 10, 13, 15, 16, 17, 18,23,24,31

15

The most notable results in Table 2 are the considerable number of shifting

problems in the excerpts. Other important results are the amount oflegato,

spiccato, and tempo problems associated with the excerpts. Table 2 can also serve

as a guide for using excerpts as pedagogical exercises on particular problems

(Baldwin 1995, 51).

Edited Excerpts

Many orchestral repertoire books contain random excerpts or complete

parts which are partially edited. These are valuable for becoming familiar with the

literature and as sight-reading material, but these compilations generally neglect to

offer assistance (through editing) with performance problems. Basic editing

involves specific fingering, bowing, and tempo recommendations as seen in many

of the excellent Ivan Galamian or Max Rostal editions of violin works. After these

basics are in place, finer points such as style, phrasing, tone production, and

musicality can be taught.

The purpose of the twenty-six most-often-used excerpts is threefold: (1) to

assist the violinist by supplying excerpts with specific fingerings, bowings, and a

standard range of metronomic markings based on my research through personal

performance, edited parts by concertmasters, and recordings of the excerpts; (2) to

pinpoint the performance problems appearing in Tables 1 and 2 which ultimately

lead to finer points of playing like style, phrasing, tone production, and musicality;

and (3) in the context of the full score, allow one to better understand the violin

part's relationship to the other instruments by contrasting it melodically,

harmonically, rhythmically, and texturally with them. Additional reasons for the

presentation in score form are for correlating dynamics and articulations between

16

the violin part and other parts, and checking for possible inaccuracies or omissions

in the violin part when compared to the score (Mozart 1974,28).

The following points regarding editing will help clarify some of the

markings in the score. A finger extension is denoted by an "x" next to the fingering

as illustrated in Figure 1. Keeping one finger down while playing other fingers is

Figure 1. Finger extension.

shown in Figure 2 with a straight line marked from the stopped note until it is

lifted. In order to avoid the need to move a finger from one string to the next and

Figure 2. Keeping fingers down.

for the execution of a smooth string crossing, covering a perfect fifth with one

finger (barring) is marked with the same fingering twice as shown in Figure 3a,

page 17. In addition, barring (Figure 3b) can be used for smooth shifting by

avoiding the extra motion of moving the finger to the next string. Omission of

notes in some three- and four-string chords, as seen in Figure 4 (see page 17), is

17

$ 0 pP fJIJ (fJ]) yin ~ II 3 (lI) I lor) 3(nr) I \ (lIT)

Figure 3. Covering the fifth. I I

suggested for reasons of style or context (may be played divisi in perfonnance) and

are marked with an "x" through the note.

Figure 4. Omission of notes in a chord.

For use as a course of study, the twenty-six excerpts beginning with the

most requested start on page 28 in Appendix A. A proposed curriculum of study is

presented in the next chapter.

CHAPTER 4

A CURRICULUM OF AUDITION REPERTOIRE STUDY

Traditionally, applied violin lessons involve teaching scales, etudes, solo

pieces, and an occasional chamber music or orchestral part. That routine should

not be broken because it provides students the opportunity to develop skills in

pedagogy and performance and increases their knowledge of repertoire and musical

styles. The author has recommended a planned program of orchestral repertoire

study that includes non-traditional techniques, the most-often-used excerpts, and

most of the major orchestral repertoire contained in the Gingold Orchestral

Excerpts books. Because of its "comprehensive coverage of composers and

musical styles" (Smith 1966, ii), these books will not only familiarize the student

with the repertoire but also serve as excellent sight-reading material. This plan,

seen in Table 3 (page 19), can be incorporated into normal applied lessons.

The PropQsed Plan

Lessons

At least fifteen minutes of an hour lesson should be spent on orchestral

literature. Over a period of thirty lessons for two semesters and at an average of

nine excerpts per year, each excerpt can be taught in three lessons. Since the

orchestral component is an addition to the lesson, time spent covering other

material might be rearranged to fifteen minutes for technical exercises (scales,

18

TABLE 3

A COMPARISON OF A TRADITIONAL UNDERGRADUA TE/GRADUATE VIOLIN SYLLABUS WITH ONE INCLUDING

ORCHESTRAL REPERTOIRE

Level

Fr.

Traditional

basic technical review seal es .. . . . . . . . . . . . . . . . . . . . . arpeggIOs . . . . . . . . . . ........ . etudes ......... . . . ......... . solo pieces (Classical concerto

Proposed Plan (orchestral excerpt indicated by its

example number)

basic technical review scales arpeggIos etudes

& Bach Son. & Partitas) ... " solo pieces (Classical concerto & Bach Son. & Partitas)

current chamber music ...... " current chamber music current orchestra music ., ...... current orchestra music · ........................... ex. 1,2,3,4,5,6, 7, 8,9, 10

So. same as fro .................. same as fro

Jr.

Sf.

Gr. 1

Classical or Romantic concerto .. classical or Romantic concerto · ........................... ex. 14,20,25,26,29,30,32 · ........................... sight-read Gingold Orch. Ex.v. 1 same as so. .................. same as so. major Romantic concerto. . . . .. major Romantic concerto · ........................... ex. 11,12, 13, 17,18,19,23,24,

27,31 · . . . . . . . . . . . . . . . . . . . . . . . . . .. sight-read Gingold Orch. Ex v. 2 same as Jr. ................. .

scales ..................... . arpeggIos .................. . etudes ....... . . . . . . . . ...... . solo pieces ................. . major Romantic or 20th-

same aSJr. ex. 7, 8,9, 10, 15, 16,21,22,28 sight-read Gingold Orch Ex. v. 3 scales arpeggIos etudes solo pieces

century concerto . . . . . . . . . .. major Romantic or 20th-century concerto

ex. same as fro & so.

19

Gr. 2 same as gr. 1 ........ ....... . sight-read Gingold Orch. Ex. V. 1&2 same as gr. 1 ex. same as jr. & sr. sight-read Gingold Orch. Ex. v. 3

20

arpeggios, and etudes) and thirty minutes for solo literature. Teaching approaches

include: (1) assigned listening to different recordings of the same excerpt, (2)

playing with a recording to get a sense of phrasing and musical scope (Rose 1991,

14), and (3) playing practice- (mock-) auditions in the violin studio class.

Practicing

An additional thirty minutes per day should be devoted to solving

performance problems in orchestral excerpts and for sight-reading practice. If

necessary, mark more suitable bowings and fingerings in the excerpts. Use a

metronome not only for the problem of rhythmic precision, but to measure

appropriate ranges of tempo for each excerpt. Attention to dynamic contrast and

musical style is important. Practice going from one excerpt to the next and develop

the ability to grasp the style immediately. Another important problem is the clear

articulation of bow strokes, especially spiccato. Spiccato is singled out in many

audition excerpts because it is a fundamental orchestral bow stroke. Mastery of

this stroke is essential (Nowinski 1961, 2).

Know realistically how you sound. Use a tape recorder and check for errors

with: (1) intonation, (2) rhythm, (3) tempo, (4) dynamics, (5) articulation, (6)

phrasing, (7) style, (8) sound production, and (9) tone color. With poor quality

audio equipment, numbers 4, 8 and 9 may be difficult to assess. Play with

recordings and develop a sense of phrasing and musical scope for each excerpt.

Moreover, practice mock-auditions and duplicate or visualize as many audition

factors as possible, such as: (1) the stage, (2) a screen, or (3) an audition

committee.

21

Sight-Reading

When one is sight-reading, rhythm, dynamics, and style are the first

concerns; notes are secondary. Begin by checking the key signature and by

scanning a sight-reading example for: (1) key changes, (2) tempo changes, (3)

difficult rhythmic and technical passages, (4) rhythmic patterns, (5) arpeggio

patterns, and (6) scale patterns. Ignore ornamentation if it becomes troublesome.

Bowings and fingerings in an example could be helpful in some cases and harmful

in others, so do not feel compelled to follow these editorial markings. A final

recommendation regarding bowings and fingerings is to be conservative, not

daring. Play in comfortable left-hand positions and use conventional bowings.

Juries

A jury reflects the work accomplished for one semester. Materials

performed for the jury should include one or more orchestral excerpts in addition to

the usual scales, etudes, or solos. These excerpts can be chosen from the list found

in Table 3, page 19.

CHAPTER 5

AUDITION PREPARATION AND THE AUDITION PROCESS

The audition process would be less fonnidable if there were more class AA,

A, and B orchestras than there are currently. These orchestras' budgets range from

$1,050,000 to over $10,000,000 and their musicians' salaries are substantial. With

up to 300 applicants for one AA orchestra position, approximately 100 are usually

invited to audition (Campbell 1995b, 28). Competition is severe. In order to

obtain a full-time orchestral position and make a comfortable salary, it is very

important for one to be well prepared for auditions.

An audition generally consists of playing part of a concerto that

demonstrates over-all technique and musicianship, playing orchestral excerpts, and

sometimes perfonning chamber music with orchestra members or playing in

rehearsals and concerts. An audition committee comprised of section leaders,

usually without the conductor, listens to the preliminary auditions behind an

audition screen. The small number of applicants (usually less than five) chosen for

the finals play with the conductor present and generally without a screen. Finalists

are sometimes asked to play in a symphony string quartet and even in the orchestra

for further observation before any decisions are made. Here the committee and the

symphony players can get a sense of the finalist's personality and musical

interaction--their sensitivity and flexibility (Campbell 1995b, 30). For a list of first

violin parts generally required for the occasional chamber music portion of

22

23

auditions see "Most-Often-Used String Quartets" in Appendix D, page 186.

The use of a screen seems to be a topic of concern. While some despise the

dehumanizing aspect of the screen, others maintain its usefulness. Those in favor

of the screen support the "theory ... that anonymity puts every player on equal

footing" (Campbell 1995b, 48). It eliminates discrimination, sometimes to the

point of: (1) forbidding any talking by the applicant--communication is usually

sent through the audition monitor and (2) carpeting the walkway to the stage area

where the applicant plays to prevent gender bias. The Metropolitan Opera

Orchestra uses the screen through the entire audition process for musical

impartiality and attributes its dramatic improvement to this procedure. Others use

the screen just for the preliminaries, then remove the screen for the finals so that

personality and demeanor can be observed.

The Cleveland Orchestra's former concertmaster, Samuel Thaviu, and Laura

Parks, assistant concertmaster of the Boston Symphony, are among many musicians

who advise against the screen. They feel that personal contact is lost and that the

personality of an applicant cannot be observed with a screen. Both Thaviu and

Parks have had the experience of auditioning without a screen and appreciate the

direct contact with the audition committee.

Being invited to the audition is the first step. Written resumes and taped

performances make it possible for an audition committee to reduce to a

manageable amount the number of applicants invited. Using a tape is encouraged

for strong players with weak resumes. If one is even slightly unprepared, it is

advisable not to make a tape, since in the early stages of the audition process the

committee will look for any reason to eliminate applicants (Kahn, 1996, 8).

Making several takes of each excerpt and transferring the best takes onto one tape

24

can be done by the applicant with good equipment and a live room.

The American Federation of Musicians (A.F. ofM.), in association with the

International Conference of Symphony and Opera Musicians (ICSOM) and the

personnel managers of many orchestras, has compiled a list of violin repertoire for

taped resumes. The list consists of (1) Schubert, Symphony No.2, movement 1;

(2) Brahms, Symphony No.2, movement 2 (Example 26 in this dissertation); (3)

Shostakovich, Symphony No.5, movement 1; and (4) Prokofiev, Classical

Symphony, movements 1 and 2. Although this is a standard list for taped resumes,

several orchestras might require different repertoire for their tapes (Campbell

1995b, 28).

In 1984 the A.F. ofM., ICSOM, the Major Orchestra Managers Conference,

the Regional Orchestra Managers Conference, and the Regional Orchestra Players

Association approved a set of audition guidelines, or Code of Ethical Audition

Practices, for applicants as well as orchestral management. Guidelines include

sending applicants the complete repertoire list once they are invited to the audition.

Some lists will be long and unspecific and list an entire symphony when only a

short excerpt from one movement may actually be required. Other lists are short

and so specific that the audition music is sent out with the required passages

marked.

"Music schools are graduating more musicians seeking orchestra positions

than ever" (Truskot et al. 1982,326). Preparing thoroughly for an audition is

important. Choose a concerto with which you feel extremely comfortable. The

early stages of familiarity with orchestral literature and specific excerpts is outlined

in the preceding chapters. StUdying with or practice-auditioning before an

experienced orchestral musician who can detect mistakes or weaknesses that might

------ --- --- ---

25

cause failure at the preliminaries is advisable. Carefully mark parts with fingerings

and bowings, study the score for context, and not only listen to but play with

recordings of the excerpts to develop a sense of phrasing and musical scope.

"Successful candidates play and sound as though they hear an orchestra

surrounding them" (Rose 1991, 14). In order to refine the excerpts, memorize as

many of them as possible. Charles Pickler, now principal viola with the Chicago

Symphony, was in the orchestra's first violin section for years. He played a

flawless audition for the latter position entirely by memory. Charlie Vernon, the

bass trombonist of the Chicago Symphony and winner of numerous auditions,

" 'play[s] an audition as ifit were a recital.' Many who play all the right notes, but

lack personality in their sound, rarely win auditions" (Stewart 1990, 33).

I asked three concertmasters what they listen for when hearing auditions.

Samuel Thaviu (formerly with the Baltimore Symphony, Cleveland Orchestra, and

Pittsburgh Symphony), Linda Thomssen (Philharmonia of Kansas City), and David

Halen (Saint Louis Symphony) mentioned the necessity of basics, such as

consistent intonation, especially in the higher positions; good tone; the ability to

blend with a section; and rhythmic solidarity. The importance of clean playing,

especially in spiccato; the ability to grasp the style of each excerpt; and musicality

were also cited as essential elements for a successful audition.

If unsuccessful, how you approach the post-audition period is important.

This can be the most stressful part of the process. Allow time to reflect and

analyze the audition in a positive way (Thoms sen 1997), as must have been the

case with Daniel Katzen who won the position as second hom of the Boston

Symphony after taking 47 auditions. It is recommended that you not only be

prepared but be persistent.

APPENDIX A

MOST -OFTEN-USED AUDITION EXCERPTS IN FULL SCORE

----_ .. _-----

Don Juan. Tondichtung von Rich.strauss,Op.20.

2 Oboen. )

~1~V~.~~~~~Jr~~~'~'.~~.~~.~~~~~~~~---~~_'~'~~~~~~~~~~~~ En/{IIHrh Horn. IF" " .1l rp....l n J. rl! mJ

2 Clarinelteo ~~~~~~~~~~~~§~~~~~~~~~~~~~~~~~~~ in A. f.r .o;t lbifu J n,l;;~.1 n.l ~

2 Fa~otte. ~

COlltraragott)

.n J .·~.I J:'""'lII

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':::::. I~: ),~::'::::::fl"l::,":::=:":'>::--=i-:il;III:::::~ Tuba. ~.. Iff r---8 Pauleen E, H.C

.1l Trlangd.

Be(·ken. oJ "

Glockenspiel.

~" .. " )/.1 •. J = 84.

Horfe.

Viola. -IT -.. ~t.: -~ .. ~ ~ 1;", .. --' [l';

Violoncello.

~ -:.tf .... Eo Ica.!~ ~

BaBSO.

7 ;...........-

[28]

Example 7. R. Strauss, Don Juan, Measures 1-62. Reprinted from Richard Strauss Tone Poems; Series I, Dover Publications, Inc. 5-15 (Mineola, New York, 1979). [Continues from pages 28 to 38].

6 [29]

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Example 8. Schumann, Symphony No 2, Movement 2, Measures 1-98. Reprinted from Robert Schumann, Symphonies Nos. 1-4, Belwin Mills Publishing Corp. 156-62 (Melville, New York, n.d.). [Continues from pages 40 to 46].

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Example 9. Schumann, Symphony No.2, Movement 2, Measures 362-99. Reprinted from Robert Schumann, Symphonies Nos. 1=4, Belwin Mills Publishing Corp. 176-78 (Melville, New York, n.d.). [Continues from pages 48 to 50].

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Example 10. Mendelssohn, A Midsummer Night's Dream, Scherzo, Measures 17-99. Reprinted from Felix Mendelssohn, A Midsummer Night's Dream, Gregg Press Ltd. 55-59 (Famborough, England, 1967). [Continues from pages 52 to 55].

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Example 11. Mozart, Symphony No. 39, Movement 2, Measures 1-27. Reprinted from Wolfgang Amadeus Mozart, Later SymphoniQs, Dover Publications, Inc. 154-55 (New York, 1974). [Continues from pages 57 to 58].

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Example 12. Mozart, Symphony No. 39, Movement 2, Measures 96-125. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 159-61 (New York, 1974). [Continues from pages 60 to 62].

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[62]

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Example 13. Mozart, Symphony No. 39, Movement 4, Measures 1-104. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 167-72 (New York, 1974). [Continues from pages 64 to 69].

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Example 14. Brahms, Symphony No. 1, Movement I, Measures 1-70. Reprinted from Johannes Brahms, Complete Symphonies, Dover Publications, Inc. 1-5 (New York, 1974). [Continues from pages 71 to 75].

....

Symphony No. 1 in C Minor, Op. 68

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Example 15. Brahms, Symphony No.4, Movement 3, Measures 1-44. Reprinted from Johannes Brahms, Symphony No 4, Ernst Eulenburg, Ltd. 88-93 (London, n.d.). [Continues from pages 77 to 82].

-

Kleine Flote l Grofie Flote

2 Hoboen

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Kontrafagott

I. II. in F 1 4 Horner

III. IV, in C

2 Trompeten in C

Pauken in F-G-C

Triangel

Violinc I I Violine II

Bratsche

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Example 16. Brahms, Symphony No.4, Movement 3, Measures 105-67. Reprinted from Johannes Brahms, Symphony No 4, Ernst Eulenburg, Ltd. 99-103 (London, n.d.). [Continues from pages 84 to 88].

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Example 17. Mendelssohn, Symphony No.4, Movement 1, Measures 1-110. Reprinted from Felix Mendelssohn, Sympbonies. Gregg Press Ltd. 139-44 (Farnborough, England 1967). [Continues from pages 90 to 95].

24

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'lERTE SYMPHONIE l\Iendel~sohns Werke. von

Serie 1.I'i~".

FELIX MENDEL'SSORN BARTHOLDY. Op,90.

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Example 18. Mendelssohn, Symphony No.4, Movement 1, Measures 507-86. Reprinted from Felix Mendelssohn, Symphonies. Gregg Press Ltd. 163-66 (FarnboTough, England 1967). [Continues from pages 97 to 100].

c

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Example 19. Beethoven, Symphony No.3, Movement 3, Measures 1-48. Reprinted from Ludwig van Beethoven, Symphony No 3, E. F. Kalmus & Co., Inc. 101-3 (New York, 1932). [Continues from pages 102 to 103].

Violino I

l Violino II

Viola

Violoncello

[ Contrabasso

Ob.

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Cb.

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Example 20. Beethoven, Symphony No.9, Movement 3, Measures 99-114. Reprinted from Ludwig van Beethoven, Symphony No.9, Ernst Eulenburg, Ltd. 137-44 (London, n.d.). [Continues from pages 105 to 112].

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Example 21. Brahms, Symphony No.3, Movement 1, Measures 1-23. Reprinted trom Johannes Brahms, Complete Symphonies., Dover Publications, Inc. 161-63 (New York, 1974). [Continues from pages 114to 116].

<

./~ 2 F16ten

\U

20boen I"' -~ ~

2 Klarinetten in B IU

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Kontrafagott I 4, Horner

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2 Trompeten in F I"'

3 Posaunen I Pauken in F. C

" II !.Violine

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Bratsche

Violoncell

Kontrabal3

Symphony No.3 in F Major, Op. 90

Allegro con brio d. " 5'+ - 69 ~ .2 ~<'>: kli

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Example 22. Brahms, Symphony No 4, Movement 1, Measures 392-440. Reprinted from Johannes Brahms, Symphony No.4, Ernst Eulenburg, Ltd. 57-65 (London, n.d.). [Continues from pages 118 to 125].

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~ ~~ ! #~ ~ ~ ~!t -

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n

1 'h n

~ n

~ " t ~ °1 t r...

e I '0' .. I ;.. I 1 r...

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r... .. --

Example 23. Mozart, Symphony No. 35, Movement 4, Measures 1-37. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 22-24 (New York, 1974). [Continues from pages 127 to 129J.

•

-

Flauti

Ouoi.

Clnriltfltti in A.

Fagotti.

Corlli in D.

Tromue in D.

Timpnni in D.A

Violino I.

Yin\ino II.

Viola.

Violoncello e Dasso.

10

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10)

t(~-= IOJ

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[127]

[

[128] I~

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=:::.=.~~ .-

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b, fr

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\~ -! •

.- .... -f.

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[129]

~~;.. oJ if iI~ I::::;:

• ~ ... --v--;I

LE -- -:-f:j: zJ. -1-- .J -., if ~c loJ 'II'

• lo_

t- 'II',.,........~

IV if

if ~

"\

Example 24. Mozart, Symphony No. 35, Movement 4, Measures 110-39. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 27-29 (New York, 1974). [Continues from pages 131 to 133].

110 . h. --~ ~

• Ftk --tJ

.t..

tr-

~=b~~ ~ ~~:-= .. - ~ - - -

p .IP r}p ---'--

, -OJ ,

~

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-- v v v ~=

ttl -,--I~ 3Y III :l 1(2.;:'-. -I L P ./P

..., -- ./P

~r=.r= =- -• P ./P .' ,*- Ik-

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P tIP_ vP -I-

r. ~

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[131 ]

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, oJ , OJ

:

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[132]

. = --- . - ~- -

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- --

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.

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[133]

=-.

p

Example 25. Brahms, Symphony No 2, Movement 1, Measures 118-55. Reprinted from Johannes Brahms, Complete Symphonies, Dover Publications, Inc. 92-95 (New York, 1974). [Continues from pages 135 to 138].

j

FI.

I -Ob.

[135]

)24

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Ob.

I"

I~

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(0)

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{ I~

Trpt. (0)

! " LVio!.

2:Vlol.

"

1 l-i 'r_

~- r1!!:

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[136]

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r ~ If.

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of' ~,

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"'----- ,.. >----- ~b_ .ff~-------""'-- -+ ~ pON1/,uprns.

Fl.

Ob.

Klar (A)

Fag

) (D

Hr.

(El

37

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W

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[137]

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,

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Vel crlSC. -K,B r.r,.e.

[138]

l8 ~.J.. ~ ~r ~. ~ I _1 p.- - .. • a-

FI. tl ~::-:J:=---~~:'~ ~:!::~::::~~~~j~:::.d;;;;;;;;;;_:::~!i:':~~~~~;-~~;~;'~:;;;:::-~a;::::::= ob·lF' .... '--_ - ~ ",--,: ~ £1"-,: -,: t't:. -,: c-,: -,: £r~~'--"re-;

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to

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Example 26. Brahms, Symphony No.2, Movement 2, Measures 12-54. Reprinted from Johannes Brahms, Complete Symphonies, Dover Publications, Inc. 115-19 (New York, 1974). [Continues from pages 140 to 144].

Fl.

Ob.

Klar. (A)

Fag.

Hr. (H)

Trpt (H)

I .. I"

I"

"

. ..{ Pos

u. Btb

'., I ~

1.1 .. I.

tVio

2.Vio

Sr.

Vel

K.-B

777 n • 1 I •• i T

. i ~ I1b:J r 'b .. · ~ = - J. -

p J'J:--

p P.--

, I P

PPO<IJ}; ~ ~ .. !- \~ .. -. -

/J..£ ..;I (I~ =-ft'. ..-:::

pd0k4

pdolc:e

- =~

3_ :t... 'f 21 PI ; . ~ - .---

poCi>7_ I--- -"""'

P'd,f, I ....

uniil.

.--:----ptWJ/

l---=. ~~ I~=-.. -. ;p -===P"!:o./ , I~dim.===-

p ~ poro/ " ......... dim,

[140]

FI.

Ob.

Klar. (A)

fag.

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Trpt (H)

Pos. u.

8tb.

15; -ti .. It I" D

-'I" -~ -4-Jj.

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I" ~

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".~

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fl. K .. D

p

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r I.

P

.:!. Ix

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iihi ~ Pd~

P th~=-

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[141]

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j, --- ......... , -' ItJ tl~

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~ ---=-- ~ ----- Ai'" ~

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p~

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24,.~~,.\~~mfd®'J~.~ r""1~ .~I fl~! ~ ~#) FI.

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Br.

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p r.rnr. J

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t\'ial

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IV dim, == I'

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dim,

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dim. l'

95 •

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[142]

OOJUistesso tempo ma~~ 117 B ,

+'l-Lki )r~ .. ..: .:;1 ~,kilii .. \---....l. = ;;7. - r-

l' aol" !S-~ ,_ I ii= J' '. ===::-:----.

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l' ...

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i ..... - ..... l= :::: t .. ~ :~-

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IIr. .

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t';; K,·B ±g

N'&!<'.

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Vo I.

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[143]

rv

flU

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W pin.

:=;; d .. ,. J' :::::::==---pp pup at'OOl!!!'il!: ".. :--.

loJ pil ... arre, ~ ~" .. .:"'~y' ==--p,. P''P''.

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dim.

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t ___

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~

f'T ~ cr~sc. '"'-- I- r-;;:-: .---.. .!

lfcr~ ~ r!:- -=. T=-poc';7 ---prruc. ............

- - ;:::;::, f==-p.,-;r-~ -pcruc. '---'

---" C f

a

FI '.

Ob

Kia (A

r. )

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Hr (H)

1m t.

Po. u.

Btb

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Pk.

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2.Viol

Br.

Vel.

K.-8.

FI

Ob

Kiu (A)

Fag

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t. Tm Pas

u. Btb :l

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[144]

ie,

I

~o .~e ~! W €-r-Cg 119

I~ "-- ~C.

I~ V

I~

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I~ f .i-

9'j=-

r.t'g.==--muta G in Fi.

if=-'f IP..!- \f~;~ 1~ ......... ~~~%Th· ~G~ . ~ IJ=-'~~ -~~ em:.,... .i--c:---- .6...--. ~

l~

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~ creac. - l( ~f PQOO!.- Cre'iC. ~ ~ .. """

, 'l;:. ..--. ~-.

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poco/ __ Cf'1!!C.

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I~ .r J=." ~

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~

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.... .. ~ /L .Po:".

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/ ~ ... -:---... ~ - -.I'

/ - :/' ......

Example 27. Brahms, Symphony No 4, Movement 2, Measures 87-100. Reprinted from Johannes Brahms, Symphony No 4, Ernst Eulenburg, Ltd. 83-84 (London, n.d.). [Continues from pages 146 to 147].

97 83

" " 90

Fg -

(E)

Hrn

(C) f~ Pf..

ii.

~~ ~. V4

I

= -

1I! V lot II 11 1/ poco ie~retl6ivo 3 If~. 1 3 J--..V ~v I ~"'4 ~ ~.". -- ~ .. -Jf f

II 11 1/ div. ==-- I I -~ ~ Tf~~W~t r'! -ar t..:!. T' ~ .. '-I.d. I'} t.I-:t

... II 'y'oco fespl'e siDO -~ ...-:::::. ..-----c--:-... ...,.

VI.

Hr.

r~rJ -~~~. Ir-iJ ~ 'L-W ~ -0.; III~o...l.Jf' poco fespreuil10

~~ : 1ffl~ ,/ div. I ~

T' ~~lr. ~ r 'p CJ::r I"r~ L.L:l L..!f'~. fZA~ .l voco f'ell ressiDO ::::=-- --VO'l

Kb.

'" --==:: =-- ~ ... : ~ "-' u:r~. /

poco f espres~'ivo {p!Jalo r· f

..... II 11 1/ .c-:&.... • ... -t; ~ FI.

~ 1/ 17ifc~cr' 1 'j

Rb.

~II ~mfcresr. .,

Kl. ~

~ ~'!' c resc. _/ " 1' ... :--, r- ~

Fr;. :--. :tIt n: mfcrf'SC'.

If~ Iti I:;, II 1/ l ~ , 3 .~~.p.'; .10 4 :1

~ "----"' II· ~.~ ~ ~ 4~

II II 1/ ~ -- ~ =

~ ,.. ~'1 "1}-ru -r~t:.1 ........... - . .:;;t

ull~ :::;;;., .r- r-. r- ::: <"--

VII

Hr. ~'-L. '--""c..rJ- t.! -U ~ C-J -~"'l-- ..

~r- t' I...LJ I:::""; " ...... I~ .. ""

~ ~ v ~/

vc.~

Kb.~

[146]

[147]

Example 28. Brahms, Symphony No.4, Movement 4, Measures 33-80. Reprinted from Johannes Brahms, Symphony No.4, Ernst Eulenburg, Ltd. 130-39 (London, n.d.). [Continues fTOm pages 149 to 157].

p-

PI.

Hb.

Kl.

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[153]

185 :z;u 2 ./L .fL If:.~

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[154]

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I-

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pd~

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Tr. (B)

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-

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Example 29. Mozart, Symphony No. 39, Movement 1, Measures 1-14. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 137-38 (New York, 1974). [Continues from pages 159 to 160].

SYMPHONY No. 39 in E-flat Major, K.543 Composed June 1788 in Vienna.

Adagio, )'I: 30-100 ./. , ~

Flanto. oJ ~

Clarinetti ill n 'J {;

Fngotti,

f" COl'ni ill Es

,oJ j'

TI'Qmho ill Es ,; J.

Tim[llUu in Th,n f ,

\lolino I.

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fJ

Viola.

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TF III.

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f ~ -u-u I r" J ........

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Example 30. Mozart, Symphony No. 39, Movement 1, Measures 26-99. Reprinted from Wolfgang Amadeus Mozart, Later Symphonies, Dover Publications, Inc. 138-43 (New York, 1974). [Continues from pages 162 to 165].

'"

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if;> CrUu

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--

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[165]

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Example 31. Mozart, Sympbony No. J5, Movement 1, Measures 1-66. Reprinted from Wolfgang Amadeus Mozart, Later Sympbonies, Dover Publications, Inc. 1-5 (New York, 1974). [Continues from pages 167 to 171].

SYMPHONY No. 35 in D Major, K.385 ("Haffner")

«'lllilli.

Oh"i.

FIli'"uUi.

('ul'lIi ill n.

Viulinll [.

"iolinn II.

Yi"la.

\'inlullt."lIn ,. 111I~~u.

c"mposed July 1782 in Vienna.

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-,--,.,:

". -

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---.

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'. f

[167]

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i

V

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[171]

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Example 32. Mozart, Overture to "The Magic Flute," Measures 16-43. Reprinted from Wolfgang Amadeus Mozart, OvertUre zur Oper "Die Zaubertlote," [Overture to "The Ma!:,ric Fl ute"], Luck's Music Library 3-5 (Madison Heights, Michigan, n.d.) [Continues from pages 173 to 175].

;;a

! :

i i,

,

16 Allegro d : Sb-~'+ J

•

(.2)

Allegro

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No.)

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p f r, f p f .n:. I , J: , I

I ~ fp fp ........ f p f

:

[173] ,

l'

81

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APPENDIXB

LETTER OF PERMISSION

BOOSEV0HAWKES

June 18, 1997

Fax: ~ ·816·543·8271

Mr. Tony Brandolino 1312 North East Depot Drive Lees Summit, MO 64086·5575

Dear 1\1r. Brandolino:

RE: CONCERTO FOR ORCHESTRA (San::;~,

We he'soy grant permission for yeu te I~clu~e ,n you' dlssertcwon exce:':15 fr::;:n Ire above referenced work. As we assume 'lour ;:a>:>er wrll nol be clst;;:;:.:te:l bev::;1c :~al reqUired for the degree no fee 15 payac'~. We do ask that you ,nc::.:::;!! rn io~r ~aDer either following the musical exam ole! s I cr on a separate ackncwie·:;;..,ent po;;: the following cOPYflght notice and creolt line:

Gi Copyright 1946 by Hawkes & Son (Lonaon) Ltd,. Cooync;;-:\ Renewed. Reprinted by perr.1lss'on of 500sey & Haw~.es, :-::

We also grant permission for you to de~:;sit are coPY of your pacer wrtt" Unrversl:Y Mlcroriirrs, Inc,. Ann Arbor, Micnlgan. fer Slng:9 recroduc:lons for sc:-:::;Iarry use 0'11;­

Shou:c you Wish to place your paper e!seWrere ycu will need Ie cc:-:act ... s In acva~ce as a rcyaily may be payable.

With kind regards.

BOOSEY & j:.!J\~. INC.

~~?~-Frank Korach Business Affairs Assistanl

SooBey & HawK.s, Inc. J: ::.3.S: ,'5· "ev, 'w;:.· •. "l~' "::11';'-5::'2

":'e'~cO'\:-~ :', J::.:~:: =:,'< :':' 3:S·:":2:"

[177]

APPENDIXC

SAMPLE COpy OF AlIDITION LIST REQUEST

LETTER AND AlIDITION REPERTOIRE LISTS

January 28, 1997

Jeff Stang Audi tions Coordinator­Chicago Symphony Orchestra 220 S. Michigan Ave. Chicago, Illinois 60604

Dear t1r. Stang:

1312 N.E. Depot Dr. Lee's Summit, Missouri

64086-5575 FAX 816-543-8271

I am writing a doctoral dissertation titled "A Study of Orchestral Audition Repertoire for Violin" for my DI.'1A degr-ee in Violin Performance at the University of t1issouri-Kansas City Conservatory of Music. Included in the document will be the results of a stlrvey of the most-of ten-used violin excerpts gathered from the audition lists of numerous American orchestras.

Your Violin Audi Uon Repertoire list will be of tremendous value for use in my sur-vey. I illlderstand that audition repertoire is normally sent to applicants for positions. As a non-applicant, I would greatly appreciate you sending me your list. Thank you for your help.

Sincerely,

~~~4t?~ Lawr-ence Anthony Br-andolino

[179]

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to. ~~.:. ':'~":-r\':-~ J

~'~'~~~::q BOSTON SYMPHONY ORCHESTRA

S~JI OZAWA, Mus;, Oir \ tor SYMPHONY HALL. BOSTON. MASSAtHllSrrrs 04::3

"Tnepnone:: (617) 26c-H9:! \', ~; (617) oJ8·9~i~ .

~~~~c:t'~ - - .,..,

BOSTON SYMPHONY/BOSTON POPS ORCHESTRA ASSISTANT CONCERTMASTER AUDITION REPERTOIRE

PRELIMINARIES - SEMI-FINALS - FINALS December, 1996

I. Required Solos (need not be memorized):

j.S. Bach:

WA Mozart:

Brahms:

Solo Sonata No. I in G minor - 1st Mvmt.

Violin Concerto No.4 in D - 1st Mvmt. (With cadenn I a~~ 2nd Mvmt. (no cadenza)

Violin Concerto - 1st Mvmt

II First Violin Orchestra Solo Passages:

j.S. Bach: St. Matthew Passion - two violin solos:

[180]

"Erbarme Dich" (Breitkopf No. 47; Barenrelter r-.;o. 3~i "Gebt mir meinem jesum wiecer" Orch. II i8re,:kc~: ,'.~ ) I:

Rimsky-Korsakov: Rimsky-Korsakov: Strauss:

Barenreiter No. 42) Capriccio Espagnol Scheherezade Ein Heldenleben

III. First Violin Orchestra Passages (solo and tutti) from:

Beethoven: Brahms: Mendelssohn: Mozart: Prokofiev Schubert: Strauss:

IV. Sightreading

Symphony No.6 ("Pastorale") Symphony No. I Symphony No.4 ("Italian") Symphony No. 39 Symphony No.5 Symphony No.2 (I st Mvmt. only - Allegro Vivace to let:er C­Oon juan

(At the auditions you may use your own music or the music provided by the BSO, but please be ~r~:-'C~," D ,,~

BSO partS if necessary.)

THE AUDITION COMMITTEE OF THE BOSTON SYMPHONY ORCHESTRA RESERVES THE RIGHi TC :I:~'IS:; IMMEDIATELY ANY CANDIDATE NOT MEETING THE HIGHEST STANDARDS AT THESE AUDIT;C~S

1.

2.

3.

NORTHCAROLlliASYMPHONY

1996

AIIDITION REPERTQffiE FOR ASSISTANT PRINCIPAL SECOND VIOLIN (pennanent)

(AND PQSSIBLE FIRST VIQLIN SECTIOY'l

A movement from concerto of musician's choice

Orchestral excerpts: (your parts or ours)

A. First Violin:

Beethoven Symphony No.3 \Ioveme::t :;

Beethoven Symphony No.9 :-'[oveme::r .3

Brahms Symphony No.2 :-'[oveme::ts I & :

Mendelssohn Wdsllmmer Vir:hr'~ Dream Sc::erzo

Mozart Symphony No. 39 \Ioveme::ts 1,2. & .J.

Schumann Symphony No.2 \Iovement:: (Scher:::oJ

R. Strauss Don Juan J:; • \,-lrn pagel

B. S!:£D.rui Vio lin

Rachmaninoff Symphony No.2 :'loveme:c.t:2 (Scher:::o)

Sight Rending

[181]

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71x NII/'Ih (iralld UIIIIll.'\,lfl! SiIIllI LulU .... :Vli .. ",un h3 III.' Phon!.!: I.' I..J.) :'3J·'::'5Il!l

[182]

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BI11~, ~ "'PP' I .. ,." l:"I.:"'1I11h·l):I .. ' .. ~tll

AUDITION REPERTOIRE, SECTION VIOLIN AUDITIONS, February 1996

Solos:

-One complete concerto from the following list of composers:

Bartok, Brahms, Beethoven, Glazunov, Mendelssohn, Prokofiev, Paganini. Saint-Saens. Sibelius, Tchaikovsky, Wieniawski

Orchestra excerpts: (enclosed)

First Violin Parts:

Beethoven Symphony No.9, Movement III #7-#9 Brahms Symphony No.3, Movement I, beginning - Rehearsal B Brahms Symphony No.4, Movement II, measures 88-101 Mozart Symphony No. 39, Movement IV, measures 1-104 S-:;hlJmann Symphony No.2. Scherzo, measures 1-97 Tchaikovsky, Nutcracker Overture, last 49 measures Strauss. Don Juan first page

There may be sightreading. There will not be an accompanist for the preliminary round of aUditions.

APPENDIX 0

AUDITION REPERTOIRE LISTS SURVEY

The following eighteen orchestras participated in this survey of 373 excerpts from their violin audition repertoire lists: Boston Symphony Orchestra, The Cedar Rapids Symphony, Charleston Symphony Orchestra, Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, Colorado Springs Symphony Orchestra, The Columbus Symphony Orchestra, Houston Symphony, The Kansas City Symphony, National Repertory Orchestra, North Carolina Symphony, Omaha Symphony, The Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Rochester Philharmonic Orchestra, Saint Louis Symphony Orchestra, South Dakota Symphony, The Tulsa Philharmonic.

Number of orchestras requiring the excerpt

16 12 11 7 7 7 7 6 6 6 5 5 5 4 4 3 3 3 3 3

Most-Often-Used Violin Excerpts

Composer, title, and movement of the excerpt (all first violin parts unless otherwise noted)

R. Strauss, Don Juan Schumann, Symphony No.2, mvt.2 Mendelssohn, A Midsummer Night's Dream, Scherzo Mozart, Symphony No. 39, mvt. 2 Mozart, Symphony No. 39, mvt. 4 Brahms, Symphony No.1, mvt. 1 Brahms, Symphony No.4, mvt. 3 Mendelssohn, Symphony No. 4, mvt. 1 Beethoven, Symphony No.3, mvt. 3 Beethoven, Symphony No.9, mvt. 3 Brahms, Symphony No.3, mvt. 1 Brahms, Symphony No.4, mvt. 1 Mozart, Symphony No. 35, mvt. 4 Brahms, Symphony No.2, mvt. 1 Brahms, Symphony No.2, mvt. 2 Brahms, Symphony No.4, mvt. 2 Brahms, Symphony No.4, mvt. 4 Mozart, Symphony No, 39, mvt. 1 Mozart, Symphony No. 35, mvt. 1 Mozart, Overture to "The Magic Flute" (Violin 2)

184

Most-Often-Used Yiolin Excerpts. Continued.

Number of orchestras requiring the excerpt

Composer, title, and movement of the excerpt (all first violin parts unless otherwise noted)

(The following are not covered in this dissertation but were part of the survey.)

2 2 2 2 2 2 2

Number of orchestras requiring the excerpt

9 6 5 4 3 3

Beethoven, Symphony No.9, mvt. 2 Brahms, Piano Concerto No.1> mvt. 3 (Violin 2) Mozart, Qyetlure to "The Marriage of Figaro" Prokofiev, Classical Symphony Rachmaninoff, Symphony No.2, mvt. 2 (Violin 2) Shostakovich, Symphony No.5, mvt. 1 Smetana, Overture to "The Bartered Bride" (Violin 2)

Most-Often-Used Concertmaster, Associate, and Assistant Concertmaster Excerpts

(in addition to section violin repertoire)

Composer, title, and movement of the excerpt (all first violin parts unless otherwise noted)

Rimsky-Korsakov, Scheherezade Brahms, SymphOny No.1, mvt. 2 Rimsky-Korsakov, Capriccio Espagnole R. Strauss, Ein Heldenleben Tchaikovsky, Swan Lake, Act 2, "Pas d'action ll

R. Strauss, Also Sprach Zarathustra

185

Number of orchestras requiring the work

2 1 1 1 1 1

Number of orchestras requiring the work

10 9 9 8 8 8 8 8 7 7

Most-Often-Used String Quartets

Composer, title, and movement of the work

Mozart, Quartet in B-flat Major, K. 458, mvt. 1 Mozart, Quartet in G Major, K. 387, mvt. 1 Mozart, Quartet in F Major, K. 590, mvt. 1 Haydn, "Quinten" Quartet, Op. 76, No.2, entire work Beethoven, Quartet in C Minor, Op. 18, No.4, mvt. 4 Beethoven, Quartet in F Major, Op. 59, No.1, mvt. 1

Most-Often-Used Solo Violin Works (including cadenzas where applicable)

Composer, title, and movement of the work

Brahms, Concerto, mvt. 1 Tchaikovsky, Concerto, mvt. 1 Sibelius, Concerto, mvt. 1 Mendelssohn, Concerto, mvt. 1 Beethoven, Concerto, mvt. 1 Mozart, Concerto No.5, K. 219, mvt. 1 Mozart, Concerto No.4, K. 218, mvt. 1 Prokofiev, Concerto No.2, mvt. 1 Paganini, Concerto No.1, mvt. 1 Bach, Solo Sonatas and Partitas, any two contrasting

movements

186

1 ;

REFERENCE LIST

Akos, Katherine, Marshall Burlingame, and Jack Wellbaum, eds. 1983. Facing the maestro. Washington, DC: American Symphony Orchestra League.

Baldwin, Robert. 1995. Orchestral excerpts as etudes. American String Teacher 45, No.3 (Summer): 51-53.

Bartok, Bela. 1946. Concerto for orchestra. London: Hawkes & Son, Ltd.

Baskerville, David. 1982. Music business handbook and career guide. Los Angeles and Denver: The Sherwood Company.

Beethoven, Ludwig van. n.d. Symphony no. 9. London: Ernst Eulenburg, Ltd.

____ . 1932. Symphony No.3. New York: E. F. Kalmus & Co., Inc.

____ . 1975. Complete orchestral parts. Bloomington, Indiana: Frangipani Press.

Berlioz, Hector. 1971. Fantastic symphony. New York: W.W. Norton & Co., Inc.

Brahms, Johannes. n.d. Symphony no 3. Houston Symphony Orchestra, Leopold Stokowsky, Conductor. LP SDBR 3148/4. Everest.

n.d. Symphony no. 4. London: Ernst Eulenburg, Ltd.

----· 1951. Symphonies nos. 3 and 4. Concertgebouw Orchestra, George Szell, Conductor, CD 425994-2. London.

· 1958. Symphonies nos. 3 and 4. Berlin Philharmonic, Herbert von --K-a-rajan, Conductor. CD 425 153-2. Deutsche Grammophon.

· 1974. Complete symphonies. New York: Dover Publications, Inc. ----

187

188

___ . 1977. Symphony no. 3. Chicago Symphony, James Levine, Conductor. Cassette 09026-61845-4. RCA.

___ . 1979. Complete orchestral parts. Bloomington, Indiana: Frangipani Press.

___ . 1983. Symphony no. 3. Vienna Philharmonic, Leonard Bernstein, Conductor. CD 410 083-2. Deutsche Grammophon.

___ . 1992. Symphony no. 4. Boston Symphony Orchestra, Charles Munch, Conductor. CD 9026-61206-2. RCA Victor.

___ . 1993. Symphonies nos. 3 and 4. Cleveland Orchestra, Christoph von Dohnanyi, Conductor. CD 4505-52144-2. Teldec.

Bruckner, Anton. 1953. IV, symphonie es-dur. [Symphony no.4 in e-flat major]. Vienna: Musikwissenschaftlicher Verlag.

Campbell, Karen. 1995a. Auditions: The player's opportunity. Symphony 46, NO.3 (May-June): 33-36.

___ . 1995b. Auditions: The recruiter's challenge. Symphony 46, No.3 (May-June): 27.

Conner, Jennifer Steele. 1996. Patience and perseverance payoff Flute Talk 15, NO.5 (January): 26-27.

Daniels, David. 1982. Orchestral music: A handbook. 2d edt Metuchen, New Jersey and London: Scarecrow Press.

Ghertzovici, Adia. 1975. Hypostasis: Twelve studies in modem violin virtuosity. New York: Boosey & Hawkes, Inc.

Gingold, Josef, ed. 1953a. Orchestral excerpts. Vol. 2. New York: International Music Company.

___ . 1953b. Orchestral excerpts. Vol. 3. New York: International Music Company.

___ . 1962. Orchestral excerpts. Vol. 1. New York: International Music Company.

Grieve, Tyrone. 1996. Preparing for auditions. The Instrumentalist 50, No.7 (February): 74-78.

Halen, David. 1997. Telephone interview by author, 26 March.

Kahn, Nathan. 1996. Audition preparation: Beyond the practice room. International Musician 95, No.2 (August): 8-9.

189

Loggins, Stacy. 1996. The nuts and bolts of auditioning. Percussive Notes 34, No. 1 (February): 45-47.

Mendelssohn, Felix. 1967a. A midsummer night's dream. Famborough, England: Gregg Press, Ltd.

1967b. Symphonies. Farnborough, England: Gregg Press, Ltd.

1980. Complete orchestral parts. Bloomington, Indiana: Frangipani Press.

___ . 1984. Mendelssohn's greatest hits. Philadelphia Orchestra, Eugene Ormandy, Conductor. CD MLK 35452. CBS Masterworks.

Mozart, Wolfgang Amadeus. n.d. Ouvertiire zur oper "Die zauberflote." [Overture to "The magic flute"]. Madison Heights, Michigan: Luck's Music Library.

1974. Later symphonies. New York: Dover Publications, Inc.

1979. Complete orchestral parts. Bloomington, Indiana: Frangipani Press.

Musical America. 1996. Orchestras: US & Canada. In Musical America directory, 226-368. Hightstown, New Jersey: K-III Directory Corp.

Nowinski, William, ed. 1961. Violinist's guide to orchestral playing. New York: Carl Fischer, Inc.

Pretzel, Mark William. 1995.' A comparative study of tempos in selected recordings of Mozart symphonies K. 543, 550, and 551. D.M.A. diss., University of Missouri-Kansas City.

Prill, [Karl], ed. n.d. R. Strauss orchestral excerpts. New York: International Music Company.

Ravel, Maurice. 1921. La valse. Paris: Durand et Cie.

Rose, Ellen. 1991. Auditioning with finesse. The Instrumentalist 45, No.6 (January): 14-16.

190

Schumann, Robert. n.d. Symphonies nos 14. Melville, New York: Belwin Mills Publishing Corp.

____ . 1979. Complete orchestral parts. Bloomington, Indiana: Frangipani Press.

Shatzkin, Merton. 1993. Writing for the orchestra: An introduction to orchestration. Englewood Cliffs, New Jersey: Prentice Hall.

Shemel, Sidney, and M. William Krasilovsky. 1967. More about this business of l1ll!S.i.c.. Edited by Lee Zhito. New York: Billboard Publishing Company.

Smith, James E. 1966. Using orchestral excerpts as study material for violin. Urbana, Illinois: American String Teachers Association.

Stewart, M. Dee. 1990. Audition advise. The Instrumentalist 44, No.6 (January): 32.

Strauss, Richard. 1979. Ton~ poems: series 1. Mineola, New York: Dover Publications, Inc.

Taylor, Millard. n.d. The Brahms symphonies. Fairport, New York: Rochester Music Publishers, Inc.

Tchaikovsky, Peter Ilyitch. 1979. Fourth, fifth and sixth symphonies. New York: Dover Publications, Inc.

Thaviu, Samuel. 1997. Telephone interview by author, 18 May.

Thomssen, Linda. 1997. Telephone interview by author, 22 May.

Thomas, Clayton L., ed. 1993. Taber's cyclopedic medical dictionary. 17th ed. Philadelphia: F.A. Davis Company.

Truskot, Joseph, Anita Belofsky, Karen Kittilstad, and Chester Lane, eds. 1982. Principles of orchestra management: A resource guide for orchestra administrators, Washington, DC: American Symphony Orchestra League.

Weissman, Dick. 1979. The music business' Career opportunities and self­defense. New York: Crown Publishers, Inc.

191

VITA

Lawrence Anthony Brandolino was born on May 2, 1958, in Joliet, Illinois.

He has been Assistant Professor of Music, Director of Orchestral Activities, and

Instructor of Violin and Viola at Central Missouri State University in Warrensburg

since 1991. He also teaches violin in the Department of Music Preparatory

Program and is the director of Central's Concerto/Aria Competition, first violinist

in the Central String Quartet and violinist in the Central Trio.

Mr. Brandolino earned his high school diploma from the Interlochen Arts

Academy, and he holds Bachelor and Master of Music degrees from Northwestern

University where he received the Lockwood Award for Excellence in String Music

in 1980. He has taught at the Breckenridge Music Institute in Colorado and the

Brevard Music Center. He has been the concertmaster of the Spoleto Festival

Orchestra both in the United States and in Italy, the Augusta Symphony, and the

Macon Symphony. Mr. Brandolino has performed in orchestras for various artists

including Itzhak Perlman, John Rutter, Ray Charles, Sara Vaughn, the American

Ballet Theater, and the Joffrey Ballet. He appears on string tracks for several

albums by popular recording artist, James Brown, and performed with the Spoleto

Festival Orchestra in the 1984 Grammy Award winning recording of Samuel

Barber's opera Antony and Cleopatra on the New World Records label.

Mr. Brandolino was Music Director of the Siouxland Youth Symphony and

has conducted the Sioux City Symphony, Spoleto Festival Orchestra, UMKC

192

193

Concert Dancers, and pop artists such as The Association and Gary Morris. He has

served as an orchestral and string clinician in Missouri, Kansas, Nebraska, and

Iowa. He is also a member of the American String Teachers Association, Music

Educators National Conference, Missouri Music Educators Association, Chamber

Music America, Amateur Chamber Music Players Association, Pi Kappa Lambda

and Phi Mu Alpha Sinfonia.