Admission requirements

The audition consists of two parts: a practical part and a theoretical part. Every candidate can download the PDFs 'Solfège (oral exam)' and 'Theory and Solfège (written exam)' to prepare for his or her audition. Furthermore, you can find all main subject requirements below. Be advised that the Classical Music department holds a pre-audition selection before the actual audition takes place.

Composition

  • candidates are required to submit at least three own works that shows the stylistic development (written scores/ video/ audio – all media are welcomed), description of the works (pdf) and motivation letter (A4); these works must demonstrate sufficient talent in composition

Violin

  • technique: scales and broken chords in three octaves, Violin school: Sevcik op. 1,2,3,8; double fingering, playing vibrato, developed right wrist, finger strokes
  • etudes: two etudes of contrasting character and tempo, e.g. Dont, Mazas – Etudes spéciales, Dancla op. 73 and Kreutzer
  • pieces: two pieces or movements from a sonata or concerto, of different character and tempo

Viola

  • technique: scales over three octaves (C to G, major and minor thirds), other scales over two octaves, first to fourth playing positions and various bowings
  • etudes: two etudes of contrasting character and tempo from e.g. Moravec part 2, Hoffman op. 87, Kreutzer and Mogill (Selected etudes for viola)
  • pieces: two contrasting movements from a sonata or concerto

Cello BA

  • Bach suites 1, 2 or 3: one movement of choice
  • A recital piece, for example Van Goens – Scherzo, Popper – Gavotte 2, Fauré – Elegie
  • An etude, for example: Duport or Popper (High school or Preparatory)
  • One movement of a concerto or sonata

Cello MA

  • Bach Suites 4, 5 or 6: two movements of choice or the preludes
  • One contemporary piece (for example Lutoslawsky, Berio, Britten or Sollima) or one recital piece (for example Popper – Hungarian Rhapsody, Schumann – Adagio and Allegro or Beethoven variations)
  • Two movements of a concerto or sonata

Double bass

  • technique: scales and chords over at least two octaves in all keys, also thumb position
  • etudes: choose from Storch-Hrabe; 57 studies, Sturm op. 20; 110 studies; Kreutzer-Simandl; 18 studies
  • pieces: A. Capuzzi – Concerto in F; Cimador – concerto; W. Pichl – concerto or a piece of the candidate’s own choice

Flute BA and MA
See downloads below

Oboe

  • etudes: two etudes by Luft or Pasculli
  • pieces: one sonata or concerto and one free choice of piece from the classical period or later

Clarinet
See download below

Bassoon

  • technique: all scales and chords
  • etudes: two etudes from Weissenborn, etudes op. 8 no.2 (second half), two etudes from Vaulet, 20 studies
  • pieces: three performance pieces of the candidate’s own choice

French horn

  • technique: all major and minor scales and broken chords
  • etudes: some etudes of contrasting technical character, e.g. Kopprasch and/or Oscar Franz
  • pieces: at least one composition such as Cherubini – 1st sonata or 3rd horn concerto by Mozart (part 2)

Trumpet

  • technique: major and minor scales, broken chords joining natural notes over the whole range of the instrument
  • etudes: etudes from Werner (no. 3 and/or no. 7), Duhem – 24 etudes (no. 17 and/or no. 19) or etudes of an equivalent grade
  • pieces: a performance piece of the candidate’s own choice

Trombone

  • technique: all major and minor scales over at least two octaves, joining natural notes
  • etudes: some etudes of contrasting technical character, e.g. from Vobaron, Kopprasch, Lafoss-Méthode complète
  • pieces: choose from such pieces as Larsson – Concertino for trombone, Rimsky Korsakov – Trombone concerto, Weber – Romance

Bass trombone

  • technique: all major and minor scales over at least two octaves, joining natural tones
  • etudes: some etudes of contrasting technical character, e.g. from Vobaron, Kopprasch, Lafoss-Méthode complète
  • pieces: a performance piece of the candidate’s own choice

Tuba

  • technique: scales and broken chords
  • etudes: choices from Robert Kietzer, Bas Tuba School
  • pieces: a performance piece of the candidate’s own choice

Percussion BA and MA
See downloads below

Harp

  • technique: scales over the entire harp with different accents, three part closely played broken chords, four part closely played broken chords with varying accents, arpeggio in seventh chord over the entire harp
  • etudes: One etude by Pozzoli, Studi di media difficolta per arpa, one etude by Bochsa or one sonata by Naderman, Sept sonates progressives
  • pieces: free choice, at least at the level of A. Hasselmans, Feuilles d’automne; J.L. Dussek, from Six Sonatines; M. Grandjany: Automne
  • one work should preferably be played from memory

Piano

  • etudes: two etudes of different technical character, minimum level of difficulty Czerny op. 299, part 4
  • pieces: one composition of J.S. Bach with a minimum level of difficulty of a two-part invention, one classical sonata, one piece from the Romantic period, one piece composed since 1900
  • repertoire list of works studied over the previous two years

Organ

  • etudes: choose from J.S. Bach – 8 short preludes and fugues, one composition from a contemporary or predecessor of J.S. Bach
  • pieces: one or more works from after 1750
  • some proficiency in sight-reading
  • repertoire list of all works studied

Voice
See download below

Conducting
See download below