Fall 2021 Audition Form
If you are interested in auditioning for orchestra for the Fall 2020 season,
please contact conductor Chris Kim email@example.com.
Form and details have been updated on July 1 of 2020
Thanks to Grace and Yawen for making this video on how to make an audition video
Please submit an unedited video that includes a 3-octave scale of your choice[winds and brass 2-octave scale of your choice], an excerpt from the solo repertoire of your instrument, and an optional orchestral excerpt of your choice listed below in the audition page]. You must submit the video via youtube link. Please submit the video link by July 31.
For members wishing to be considered for principal positions in the orchestra, the orchestral excerpts are required.
ORCHESTRA AUDITION FAQ
Due to the COVID-19 pandemic, CU Orchestras has moved to video auditions for the 2020-2021 season. Below are the answers to some frequently asked questions about the CU Orchestra Video Audition process.
WHAT WILL CU Orchestra BE JUDGING IN MY AUDITION?
When reviewing your video audition, the judges WILL consider:
When reviewing your video audition, the judges WILL NOT consider:
WHEN IS THE DUE DATE FOR MY VIDEO AUDITION?
Video audition submissions are due on July 31 at 11:59 pm.
But please, by all means, submit your videos early so we can get to know you. We are planning many "Get-to-know-you" Zoom sessions over the summer so you can join our orchestra community at Cornell. So the sooner we know about you, the sooner we can get to know you.
Prospective members may submit their audition video any time before the deadline. Potential members may register for an audition through our website.WHERE CAN I FIND INSTRUCTIONS FOR SUBMITTING THE VIDEO?
After you have submitted your online audition registration form, a CU Orchestra staff member will email you your video instructions!CAN I EDIT MY VIDEO?
Absolutely no editing or sound enhancements of any kind are permitted. Your Audition video should be one continuous take. Audition videos that are suspected of having been edited or otherwise enhanced will be immediately disqualified.WHAT IF I DO NOT HAVE ACCESS TO AN INSTRUMENT AT HOME?
If you do not have access to your instrument or have other challenges preventing you from submitting a video, please email Chris Kim at firstname.lastname@example.org. CU orchestra understands that percussionists, in particular, may not have access to timpani or a mallet instrument, and we have created separate pre-screening instructions for these students will receive after registering for their audition.SHOULD I MEMORIZE THE MUSIC?
Memorization is not required. If you would like to memorize your solos, you are welcome to do so.HOW LONG SHOULD MY AUDITION VIDEO BE?
Your audition video should be no longer than 8 minutes and should include 2-3 minutes of each of your two contrasting solos in addition to your audition excerpts.WHAT SHOULD I WEAR?
Wear nice dress clothes that are comfortable for you to perform in. Remember that this is the first impression you will make on those who will evaluate you. It is also a good idea to practice in the clothes you are planning to wear at least once before your audition.WHEN WILL I FIND OUT IF I HAVE BEEN ACCEPTED?
All audition results will be announced by July via email. All auditioning students will be contacted regardless of the outcome.
Be sure to enter your email address correctly on your Audition Registration Form. Email is CUorchestra's primary mode of communication with students.
Cornell affiliation and a love of music are all that is required. All students, staff, and faculty are welcome to our community of music makers.
If you have other questions not covered here, please email Chris Kim at email@example.com.
Please prepare and video record a 3-octave scale of your choice [2-octave for winds and brass] [REQUIRED]
A solo repertoire of your choice with or without accompaniment [REQUIRED]
and/or if you wish one of the following recommended orchestral excerpts. [REQUIRED ONLY FOR PRINCIPAL POSITIONS, for section seating it is OPTIONAL]
Bizet: Entr'acte from Carmen, beginning–five bars before B
R. Strauss: Salome, “Dance of the Seven Veils,” [D]–three measures after [H]
Mendelssohn: A Midsummer Night’s Dream, Scherzo, two before [P]–end
Stravinsky: Suite from The Firebird (1919 version), “Variation de l’oiseau de feu”
Tchaikovsky: Symphony No. 4, second movement, beginning–21
Beethoven: Fidelio, Act II, No. 11, bars 81–131 (Oboe I)
Ravel: Le Tombeau de Couperin, third movement, beginning–
Mendelssohn: Symphony No. 3, second movement, bars 32–67
Tchaikovsky: Symphony No. 6, first movement, bars 54–69 and 153–160
Beethoven: Symphony No. 8, third movement, bars 48–78 (no repeat)
Mendelssohn: A Midsummer Night’s Dream, Scherzo, beginning–B
Rimsky-Korsakov: Capriccio espagnol, first movement, A–B; third movement, 11 bars after K–end
Tchaikovsky: Symphony No. 6, first movement, bars 1–12; and fourth movement, bars 2–36
Ravel: Boléro, –
Rimsky-Korsakov: Scheherazade, second movement, opening solo and cadenzas
Mozart: Symphony No. 41, first movement, bars 105–120
Brahms: Symphony No. 1, second movement, horn solo
Wagner: Götterdämmerung, “short call”
R. Strauss: Till Eulenspiegels lustige Streiche, bars 6–20, and nine bars before –two bars after 
Shostakovich: Symphony No. 5, first movement, –
Respighi: Pines of Rome, second movement, offstage solo
Ravel: Piano Concerto in G Major, solo from –
Beethoven: Leonore Overture No. 2, offstage fanfare
Tchaikovsky: Symphony No. 6, third movement, two bars after [Dd]–[Ii]
Berlioz: La damnation de Faust, “Hungarian March,” six bars before –two bars after  (Trombone II)
Wagner: “Ride of the Valkyries” from Die Walküre
Mahler: Symphony No. 3, first movement, –
Ravel: Boléro, –
Wagner: Das Rheingold, scene IV, “Entrance of the Gods into Valhalla”
Beethoven: Symphony No. 9, fourth movement, bars 595–626
Brahms: Symphony No. 4, fourth movement, [E]–eight before [F]
Tchaikovsky: Symphony No. 4, first movement, one bar after [P]–15 bars before [R]
Hindemith: Symphonic Metamorphosis of Themes by Carl Maria von Weber, second movement, [L]–second bar of [P]
Brahms: Symphony No. 2, fourth movement, [O]–14 bars before [P]
Prokofiev: Symphony No. 5, first movement, –
Tchaikovsky: Symphony No. 6, third movement, [Ff]–[Kk]
percussionTimpani Marimba Snare Drum Xylophone Glockenspiel Tambourine Cymbals
Concertmaster violin[REQUIRED] and section violin[OPTIONAL FOR SECTION VIOLIN]
Mendelssohn: Symphony No. 4, first movement, bars 1–51
Mozart: Symphony No. 39, second movement, bars 1 – 27 (no repeats)
Tchaikovsky: Symphony No. 6, second movement, bars 41–55, and third movement, beginning– second bar after D (top line only)
Bartók: Concerto for Orchestra (Violin II), fifth movement, bars 265–317
Tchaikovsky: Symphony No. 6, first movement, bars 19–66
Brahms: Variations on a Theme by Joseph Haydn, Variation VII, bars 1–10
Mozart: Overture to Die Zauberflöte, bars 27–57
Grieg: Holberg Suite, fifth movement, 18 measures before T–10 measures after U (top line only)
Tchaikovsky: Symphony No. 6, second movement, bars 1–16
Beethoven: Symphony No. 5, third movement, bars 1–79 and 141–218
Mahler: Symphony No. 5, second movement, – (top line only)
Debussy: La mer, first movement, two bars before –six bars after  (top line only)
Please submit videos by July 31, 2020