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 is the due date for my video audition?
  • Where can I find instructions for submitting a video audition?
  • Can I edit my audition video?
  • What if I do not have access to an instrument at home?
  • Should I memorize music?
  • How long should my audition video be?
  • What should I wear?
  • When will I find out if I have been accepted?
  • When and where are rehearsals held?
  • What are the requirements for membership?

 

WHAT WILL CU Orchestra BE JUDGING IN MY AUDITION?

When reviewing your video audition, the judges WILL consider:

• Rhythmic accuracy
• Rhythmic stability (steady tempo)
• Intonation (playing in-tune with yourself)
• Tone quality
• Dynamic contrast
• Instrument-specific technique
• Musicality, expression, and phrasing
• Appropriateness of repertoire for your technical level
• Ability to recover if you make a mistake
• Careful preparation of all audition music

When reviewing your video audition, the judges WILL NOT consider:

• The audio quality of the device you used to record
• The video quality of the device used to record
• Where you recorded your video and what it looked like (bedroom, living room, bathroom, etc. However, acoustics can be an issue if, for example, you record in your bathroom, and the sound is unclear due to the echo. Wherever you record, make sure you can be clearly heard.)
• Race/Ethnicity
• Gender/Gender presentation
• If you have a private teacher or who your teacher is
• Other auditions you've taken or groups you've played with
• How fancy/expensive your instrument is

 

WHEN IS THE DUE DATE FOR MY VIDEO AUDITION?

Video audition submissions are due onFebruary 1, 2021 at 11:59 pm.[For special accommodation please contact Chris Kim]

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 chriskim@cornell.edu. 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 5 minutes and should include a solo excerpt of your choice or an orchestral excerpt from below.

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.

WHAT ARE THE REQUIREMENTS FOR MEMBERSHIP?

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 chriskim@cornell.edu.

 

Audition Excerpts

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]

 

flute

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”

OPTIONAL PICCOLO
Ippolitov-Ivanov: Caucasian Sketches, Suite No. 1, “Procession of the Sardar,” bars 3–17

 

oboe

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–[4]
Mendelssohn: Symphony No. 3, second movement, bars 32–67

OPTIONAL ENGLISH HORN
Dvorak: Symphony No. 9, second movement, bars 7–18

 

clarinet

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

OPTIONAL E-FLAT CLARINET
Ravel: Boléro, three measures after [3]–[4]

OPTIONAL BASS CLARINET
R. Strauss: Don Quixote, [72]–[74]

 

Bassoon

Tchaikovsky: Symphony No. 6, first movement, bars 1–12; and fourth movement, bars 2–36
Ravel: Boléro, [2]–[3]
Rimsky-Korsakov: Scheherazade, second movement, opening solo and cadenzas
Mozart: Symphony No. 41, first movement, bars 105–120

OPTIONAL CONTRABASSOON
Ravel: Ma mère l’Oye, fourth movement, [2]–eight bars after [5]

 

Horn

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 [31]–two bars after [33]
Shostakovich: Symphony No. 5, first movement, [17]–[21]

 

Trumpet

Respighi: Pines of Rome, second movement, offstage solo
Ravel: Piano Concerto in G Major, solo from [2]–[3]
Beethoven: Leonore Overture No. 2, offstage fanfare
Tchaikovsky: Symphony No. 6, third movement, two bars after [Dd]–[Ii]

 

Trombone

Berlioz: La damnation de Faust, “Hungarian March,” six bars before [20]–two bars after [21] (Trombone II)
Wagner: “Ride of the Valkyries” from Die Walküre
Mahler: Symphony No. 3, first movement, [13]–[17]
Ravel: Boléro, [10]–[11]

 

Bass Trombone

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]

 

Tuba

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, [3]–[6]
Tchaikovsky: Symphony No. 6, third movement, [Ff]–[Kk]

Piano

 

Harp

Tchaikovsky Nutcracker Cadenza

Debussy Afternoon of a Faun

 

percussion

Timpani

Beethoven: Symphony No. 9, first movement, 18 bars before S–end
Tchaikovsky: Symphony No. 4, first movement, four bars before T–9 bars after U

Marimba

Solo work of applicant's choice

Snare Drum

Delécluse: Etude No. 3 from 12 Etudes for Snare Drum
Rimsky-Korsakov: Scheherazade, third movement, D–E; and fourth movement, P–U (condense rests from 16 to 4 between R and S)

Xylophone

Stravinsky: The Firebird, one bar before [47]–[48] and [127]–[133]

Glockenspiel

Dukas: The Sorcerer’s Apprentice, [17]–[20] and [22]–[24]

Tambourine

Dvořák: Carnival Overture, beginning–C

Cymbals

Dvořák: Scherzo capriccioso, Op.66, Q–end

 

 

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

 

viola

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)

 

cello

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, [5]–[7] (top line only)
Debussy: La mer, first movement, two bars before [9]–six bars after [9] (top line only)

 

bass

Beethoven 9, MVT IV, m.92-B

Berlioz Symphonie Fantastique Mvt IV, 3 after 50 to 53