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Ensemble Placement and Audition Information FALL 2008
Please review the material below for important dates, locations,
audition requirements and sign-up procedures for orchestras and
ensembles.
OPERA STUDIO AUDITIONS
Gordon Ostrowski, Assistant Dean of Opera
gostrowski@msmnyc.edu or 917-493-4534
Auditions for the Manhattan School of Music Opera Studio are open
to undergraduate juniors and seniors (if their class schedules allow)
and all master’s and Professional Studies students (if their
class schedules allow). YOUR CLASS SCHEDULE MUST BE FREE FROM 9:30
AM TO 12:30 PM, MONDAY THROUGH FRIDAY. Freshman and Sophomores Undergraduates
may not audition for the Opera Studio.
If you are interested in auditioning for the Opera Studio, please
email Caren France at cfrance@msmnyc.edu no later than June 16,
2008. Please note that inquiries for Opera Studio auditions
received after the June 16th deadline may not be guaranteed an audition
spot. Audition times will be emailed to those students who have
returned their Intent to Enroll Form and their $500 Confirmation
Fee for Fall 2008. Emails will be sent no later than June 30, 2008,
so once you have registered your interest, please be patient. Note:
the Opera Studio Office will be closed from June 30, 2008 through
August 15, 2008.
If you are given an audition time you must prepare an aria in English
(not a translation), an aria in a foreign language, and a musical
theater song. You must also present a résumé and photo
at the time of your audition. The photo does not need to be a professional
headshot. An accompanist will be provided for your audition. Your
first aria must be no longer than four minutes.
General auditions may be followed with a callback, either for the
opera or the opera scenes program. You may be asked to audition
one to three times. The number of auditions you give does not guarantee
that you will be accepted. All Opera Studio members will be assigned
a role, as this is a performance ensemble. All Opera Workshop members
will be assigned to a class. You may be cast as a cover, chorus
member, or principal performer. Please note that you may not register
for the Opera Studio class unless you are assigned a role.
Productions for the 2008-2009 academic year will be:
- Opera Scenes - November 21 and 23, 2008
- Fall Main Stage Opera - December 10, 12, and 14, 2008
LATER THE SAME EVENING by John Musto
- Dona Vaughn's Opera Workshop* - TBA**
- Spring Main Stage Opera - April 2009
DIE FLEDERMAUS by Johann Strauss
- Spring Outreach Training Program - TBA**
*Dona Vaughn’s Opera Workshop is a year-long class for talented
students who are not ready for the work of the Opera Studio. Many
students who complete this class are taken into the Opera Studio
at a later date.
**Auditions for the spring semester Opera Studio take place in December
after the fall semester has ended. The other component of the spring
semester, the Outreach Training Program, includes three to four
performance opportunities.
Please note that students must be available for all of the audition
days!
The audition dates for the Opera Studio are as follows:
- Tuesday, August 26, 11AM - 7PM General Auditions Borden Auditorium
- Wednesday, Aug. 27, 11AM - 7PM General Auditions Borden Auditorium
- Thursday, August 28, 11AM - 7PM Opera Callbacks Borden Auditorium
- Friday, August 29, 11AM - 7PM Opera Scenes Callbacks Borden
Auditorium
- Saturday, August 30, 12 noon Results posted Opera Board
The Opera Office will be open for business on Monday, August 15,
2008. If you have additional questions, please call Gordon Ostrowski,
Assistant Dean of Opera, at 917-493-4534, or email gostrowski@msmnyc.edu
until June 16, 2008 or after August 15, 2008.
MUSICAL THEATER AUDITIONS
Carolyn Marlow, Director
momsmarlow@aol.com (please type “Musical Theater Ensembles” in the
subject line).
There are two musical theater ensembles offered at the Manhattan School
of Music: The American Musical Theater Ensemble
and Musical Theater Lab. Students are selected for these ensembles
during the same audition, and both are taught by the same faculty.
The American Musical Theater Ensemble is a vocal performance
ensemble. The time commitment for this ensemble is one full year.
The first semester is a “teaching” semester in which members learn
the style of musical theater performance, audition technique and repertory,
scene technique, practical aspects of the business, etc. The second
semester is entirely devoted to the spring production and consists
of rehearsals only. The "show" will be a musical revue performed with
lights, sound, choreography, a band, etc., in Borden Auditorium, usually
in middle May. Some past revues include Side by Side by Sondheim,
The Rhythm of Life (Cy Coleman), And the World Goes ’Round
(Kander and Ebb), September Songs (Kurt Weill), numerous pastiches,
etc. There are three performances—no double casting. The ensemble
is open to all classical and jazz voice majors, usually consists of
ten members, and is represented by students with varied interests:
those who are definitely headed for a career in musical theater; opera
and jazz singers who wish to improve their acting skills; and those
who have not quite decided which path to choose. Former members of
AMTE have appeared on Broadway, Off-Broadway, national tours, regional
theater, films, TV, etc.
Musical Theater Lab meets for two hours per week during the
fall semester only. This ensemble is in format very similar to the
first semester of AMTE with the main goals being that students learn
solid musical theater technique and build their musical theater repertory.
However, there is no large performance included. There will be a small
studio performance at the end of the semester. This ensemble is geared
to students who may not be quite ready for AMTE, whose talents may
not have been suited to the current AMTE production, who may not wish
to be involved in a large performance, or who are unavailable during
the spring semester.
The audition will occur during the fall (date TBA), and there are
two main parts. They include:
- a singing audition
- a dance/movement audition.
For the singing audition, students must prepare two contrasting pieces
from musical theater: one ballad (slow song) and one up-tempo (fast
or lively song). Operatic arias will not be accepted. Songs from an
operetta will be considered. All songs must be memorized. In some
instances a vocal callback might be required. If you have a resume
and photo, please present them at the time of the audition. An accompanist
will be provided, though you may feel free to bring your own.
The main callback is a dance call during which the choreographer judges
the student’s ability to move or actually dance. Dance is not a requirement
for admission to this ensemble, and people should still consider auditioning
even though they might not have dance training. Many students who
cannot dance have been taken into the ensemble, but dance ability
is obviously a plus.
If you have any questions about the musical theater ensembles, please
feel free to email Carolyn Marlow at momsmarlow@aol.com (please type
“Musical Theater Ensembles” in the subject line).
CHAMBER MUSIC AND ENSEMBLES
Lynne Normandia, Manager of Chamber Music and Ensembles
lnormandia@msmnyc.edu or 917-493-4433
Every semester, nearly 400 students at Manhattan School of Music
are placed into Chamber Music and Ensembles, if required by credit,
by their department chairs in collaboration with the manager of
ensembles. Over ninety chamber groups are coached weekly by renowned
faculty specializing in chamber music. Appropriate chamber groups
are given the opportunity to perform in our winter and summer Chamber
Music Festivals and compete in the Fuchs Chamber Music Competition.
Instrumental groups vary from the classic piano trio, string quartet,
and woodwind or brass quintet, to the contemporary TACTUS or Claremont
ensembles. Adventurous instrumentalists and singers can join guitar
or harp groups or form larger ensembles to perform such major works
as Stravinsky’s L’Histoire du soldat. Pianists may also
play in four-handed or two-piano teams or accompany vocal ensembles.
Singers can audition for opera and musical theater or select from
any number of ensembles ranging from Baroque to contemporary.
Before each semester, students may request the type of groups into
which they want to be placed by filling out an Individual Request
Form, found in Room 201. In addition, if students have formed their
own groups, they can submit a Group Request Form for instrumental
chamber music. We do everything possible to honor requests; however,
we cannot guarantee them.
For vocal ensembles, graduate students may fill out a Vocal Request
Form to study in a variety of vocal classes and ensembles without
auditioning. (See descriptions below.) American Musical Theater
and Opera Workshop hold auditions at the beginning of the fall semester;
those accepted work together for the entire year. Opera Studio holds
auditions before each semester. If students are selected to participate
in Opera Studio or American Musical Theater, they will not need
to take additional ensembles. Musical Theater Lab takes place only
in the fall semester.
Small Ensemble Voice Class Descriptions
- French Vocal Chamber Music with Gait Sirguey
French vocal chamber music for 2, 3, or 4 solo voices, a cappella,
as well as with instrumentalists, encompassing the entire spectrum
of the melody period from the 19th century to the present. Major
emphasis is on the French performance style as well as the individual
interpretation of composers.
- Songs of the Romantic Period: Vocal Accompanying with Raymond
Beegle
A performance class focusing on German, Russian, and French songs
for solo voice and piano. Songs in other languages are also welcome.
Rehearsal techniques, diction, style, and ensemble issues will
be presented in a way to prepare both singer and pianist for future
professional collaboration.
- Vocal Performance Class with Cynthia Hoffmann
A master class designed to enhance performance skills and communication
through music, acting, and stage movement principles. The Alexander
technique is also applied. Opera arias and song repertoire will
be performed.
- Baroque Aria Ensemble with Kenneth Cooper
The Baroque Aria Ensemble offers instrumentalists and vocalists
a unique opportunity to work together, exploring the repertoire
of 18th-century opera, cantata, oratorio, concerto, and chamber
music. In addition to vocal and instrumental coaching, Dr. Cooper
provides instruction in diction and acting, guidance in performance
practices of the Baroque and Classical styles, improvisation,
ornamentation, and ensemble skills in preparation for professional
work in this field.
Other Vocal Opportunities
Voice with guitar, harp, or contemporary music with TACTUS—please
see Lynne Normandia (see contact information below) if interested!
Every vocal coach schedules a final class performance at the end
of each semester. Baroque Aria and Cynthia Hoffmann’s class
performances may occur outside of the school.
Winter/Spring Chamber Music Festivals—Students participating
in Vocal Chamber Music classes will have the opportunity to perform
on our weekend celebrations in December and April.
*** Attention All Students Enrolled in Chamber Music and
Ensembles *** A general meeting will be held
in early September in Borden Auditorium to update students
on innovative performing opportunities for the academic year.
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Please visit the chamber music office in Room 201 to speak with
Lynne Normandia, Manager of Chamber Music and Ensembles, email Lnormandia@msmnyc.edu,
or call 212-749-2802, extension 4433 with any questions or concerns
JAZZ ENSEMBLE PLACEMENT AUDITIONS
Mark Micklethwaite, Coordinator of the Jazz Arts Program
mmicklethwaite@msmnyc.edu
212-749-2802, extensions 4517 or 4724
Jazz Ensemble Placement Auditions will take place on Tuesday, September
2, 2008 from 2:00 p.m. to 8:00 p.m. You will receive an audition
time via email in early August from the Jazz Office. These auditions
are mandatory for all jazz students. No Exceptions! Put this date
on your calendar.
These auditions are for placement in small combos as well as the
Jazz Orchestra, Concert Jazz Band, Afro-Cuban Jazz Orchestra, Chamber
Jazz Ensemble, and Jazz Philharmonic.
JAZZ AUDITION REQUIREMENTS:
- Prepare five standard tunes of various keys, tempos, and moods
to be performed unaccompanied. You will be asked to play the melody
from memory and improvise on the chord changes. The audition panel
will select one or two of the five tunes.
- Sight-reading
For more information, please contact Mark Micklethwaite, Jazz Arts
Program Coordinator, at 917-493-4517 or mmicklethwaite@msmnyc.edu
ORCHESTRAL PLACEMENT AUDITIONS
Kathryn Shirilla, Orchestra Manager
kshirilla@msmnyc.edu
917-493-4503
(Note: excludes Contemporary Performance Program students, who must
contact Dr. Marjorie Merryman, Dean of Students, directly for Fall
2008 information)
On behalf of Maestro David Gilbert, Resident Conductor, and the orchestral
staff, we welcome you to Manhattan School of Music!
At the beginning of each semester, auditions are held to determine
placement in the Manhattan Chamber Sinfonia, the Manhattan Symphony
Orchestra, or the Manhattan Philharmonia Orchestra. Every student
playing an orchestral instrument is required to take one of
these auditions, without exception. Auditions are held throughout
the building and adjudicated by members of the faculty, many of whom
are members of the New York Philharmonic or the Metropolitan Opera
Orchestra. Auditions are held behind a screen, ensuring the anonymity
of both the adjudication committee and you. A monitor is present at
the audition to communicate (if necessary) with the committee for
you. Auditions for Fall 2008 are scheduled for September 2, 3,
4, and 5, 2008. Individual audition times and days will be available
in the middle of August. Please contact the Office of Orchestral Operations
to receive your time before you arrive at Manhattan School of Music.
The phone number is 212-749-2802, extension 4503 or email kshirilla@msmnyc.edu.
**All students involved in the classical orchestras must attend
a mandatory orchestra meeting in Borden Auditorium on Wednesday,
September 10 at 10:00am.
Orchestral placement audition repertoire for all instruments is
available by June 1 and listed below. At the actual audition,
the adjudication committee will select the excerpts or sections of
excerpts you will be asked to play from the list.
String players: please note that there will be a second round of unscreened
auditions, by invitation only, for principal chairs immediately following
the first round of auditions. All audition materials except for concertos
(for those instruments requiring a concerto) will be distributed via
e-mail.
- To obtain audition materials via e-mail, please e-mail the Performance
Librarian, Manly Romero, after June 1, at mromero@msmnyc.edu or
917-493-4510.
- For questions regarding audition times and locations, contact
the Orchestra Manager, Kathryn Shirilla, after August 22, at kshirilla@msmnyc.edu
or 917-493-4503.
- For all other matters pertaining to orchestra auditions, contact
the Director of Performance Operations, Heidi Stubner, at hstubner@msmnyc.edu
or 917-493-4557.
Fall 2008 Orchestra Placement Audition
Repertoire
Flute (all excerpts from Baxtresser book)
Mozart, W. A. Concerto in G Major (Mvt. I: exposition)
Bach, J. S. St. Matthew's Passion
Brahms Symphony No. 4 in E Minor
Hindemith Symphonic Metamorphosis
Prokofiev Peter and the Wolf
Rossini Overture to William Tell
Oboe
Brahms Symphony No. 3 in F Major
Berlioz Symphonie fantastique
Debussy La Mer
Rossini Overture to La scala di seta
Stravinsky Symphony in C
Prokofiev "Classical Symphony" (No. 1 in D Major)
Bartok Concerto for Orchestra
Clarinet
Mozart, W. A. Concerto for Clarinet
Beethoven Symphony No. 8 in F Major
III. (Menuet) bar 48 to end, with repeat
Berlioz Symphonie fantastique
II. #35 for 18 bars;
III. #43 to #44
Mendelssohn, Felix Scherzo from A Midsummer Night's Dream (Beginning to G)
Rachmaninoff Symphony No. 2 in E Minor
III. Opening solo to #47
Rimsky-Korsakov Scheherazade
II. Cadenza
III. #D to #F
IV. #I to #K
Strauss, R. Till Eulenspiegel's lustige Streiche: #27 to #29; #30 to #32
Tchaikovsky Symphony No. 4 in F Minor
I. Moderato Assai to #F
III. #E to #G
Weber Overture to Oberon: Solo, bar 64 to 72
Bassoon
Mozart, W. A. Concerto for Bassoon (Mvt. I beginning to 1st Fermata)
Mozart, W. A. Overture to The Marriage of Figaro (recap, for 16 bars)
Ravel Bolero (solo)
Rimsky-Korsakov Scheherezade (Mvt. II: Solo & Cadenzas)
Tchaikovsky Symphony No. 4 in F Minor (Mvt. 1: excerpts; Mvt. 2: Solo, 274 to end)
Tchaikovsky Symphony No. 6 in B Minor (Mvt. I: opening)
Stravinsky Suite from The Firebird (1919): Introduction and Berceuse
Horn
Brahms Symphony No. 1 in C Minor
II. Horn I solo (bar 90 to 105/ 1 before E to F)
IV. Horn I solo (bar 30 to 38)
Ravel Piano Concerto in G (Movement I solo, #25 to #26)
Shostakovich Symphony No. 5 in D Minor
I. (Horn I) low unison, #17 to #21
Strauss, R. Ein Heldenleben (Horn 1, Opening to 5 after #1)
Strauss, R. Till Eulenspiegel's lustige Streiche (Horn 1, Opening call)
Tchaikovsky Symphony No. 4 in F Minor
I. (Horn 2) opening to 6 after #A
Trumpet
Bartok Concerto for Orchestra
V. #211 to #249
Beethoven Leonore Overture No. 3 (Off-stage solo)
Holst The Planets
IV. "Jupiter"
Mahler Symphony No. 3 in D Minor
Posthorn solo
VI. Chorale
Strauss, R. Ein Heldenleben (1st E-flat Trumpet) #49 to #55
Tchaikovsky Symphony No. 4 in F Minor (1st Movement; opening)
Tenor Trombone
Bartok The Miraculous Mandarin
Trombone I: 1 before #60 to 6 after #61;
Trombone II: #71 to first bar of #74
Copland Appalachian Spring: #59 to #64
Saint-Saëns Symphony No. 3: #Q to 3 after #S
Strauss, R. Also Sprach Zarathustra: 4 before #16 to #16;
7 after #50 to 1 after #51
Strauss, R. Till Eulenspiegel's lustige Streiche: #31 to #32;
4 before #36 to 4 before #38
Wagner Overture to Tannhäuser: 1 before #M to End
Bass Trombone
Bartok The Miraculous Mandarin
Berlioz Hungarian March
Schumann Symphony No. 1 in B-flat Major
Schumann Symphony No. 3 in E-flat Major
Strauss, R. Le Bourgeois Gentilhomme(Der Bürger als Edelmann)
Wagner Siegfried - Act II, Scene ii
Tuba
Berlioz Requiem
No. 7: #66 to 67
No. 9: #86 to End
Holst The Planets
IV. 9 before #1 to 3 after #1
" pickup to #3 to #4
" 8 before #7 to #8
" 4 after #11 to #12
" 8 before #17 to Presto
VI. 5 before #3 to #3
Mahler Symphony No. 2 in C Minor "Resurrection"
I. 6 before #2 to #2
" #20 to Tempo I
V. #10 to #11
" #25 to #27
Stravinsky Petrouchka (1911 vers.)
Solo, bar 121-122, as written and down the octave
Wagner Siegfried: #A to #D
Wagner Das Rheingold:
#4 for 20 bars
#11 for 15 bars (Dragon solo)
#18 for 11 bars
Harp
Donizetti Lucia di Lammermoor
Tchaikovsky Swan Lake (Cadenza)
Violin
First Round
Brahms Symphony No. 4 in E Minor
I. 2 before #Q (bar 392) to End
Mendelssohn, Felix Symphony No. 4 in A Major ("Italian"): Mvt. I (complete)
Mozart, W. A. Symphony No. 39 in E-flat Major:
II. (exposition and development)
Schubert Symphony No. 2 in B-flat Major
I. Allegro vivace to first G.P.
Schumann Symphony No. 2 in C Major
II. Scherzo (exposition w/repeat)
Second Round (for principal chairs)
Bach, J. S. B-minor Mass: Mvt. 5 "Arie" solo
Rimsky-Korsakov Capriccio Espapgnol (all solos)
Strauss, R. Ein Heldenleben (solo)
Tchaikovsky Suite No. 3 (solo)
Viola
First Round
Beethoven Symphony No. 5 in C Minor
II. Beginning to bar 37
Brahms Symphony No. 3 in F Major
I. #E to #G
Britten The Young Persons' Guide to the Orchestra (Variation F)
Mozart, W. A. Symphony No. 40 in G Minor
IV. bar 147(#C) to bar 205
Second Round (for principal chairs)
Rossini La gazza ladra (bar 88 to #C)
Kodaly Suite from Hary Janos: Andante: to #1 (solo)
Strauss, R. Don Quixote (bar 142 to 176)
Cello
First Round
Brahms Symphony No. 3 in F Major (Mvt. 1, #L to #M)
Debussy La Mer (Top line of cello divisi passage)
Mozart, W. A. Symphony No. 40 in G Minor
I. 20 bars before #C to #C
I. 34 bars before #E to #E
Prokofiev Symphony No. 5 in B-flat Major
Mvt. IV, #79 to #80-top line only of divisi passage
Second Round (for principal chairs)
Beethoven Symphony No. 9 in D Minor (Mvt. II, bar 1 to #A)
Rossini Overture to William Tell (Top line of solo passage)
Double Bass
First Round
Beethoven Symphony No. 3 in E-flat Major ("Eroica")
III. bar 14 to #B
Mendelssohn, Felix Symphony No. 4 in A Major ("Italian")
I. bar 41 to bar 90
I. bar 261 to bar 330
Mozart, W. A. Symphony No. 39 in E-flat Major
I. bar 14 to bar 21
I. bar 40 to #C
IV. bar 104 (double bar) to #C
Prokofiev Suite from Lieutenant Kije
Solo 8 before 16 to 16; solo at last bar
Second Round
TBA (based on season repertoire when available)
Percussion
Xylophone:
Gershwin Porgy and Bess-Introduction (Goldenberg)
Kabalevsky Colas Breugnon (Goldenberg)
Shostakovitch Polka (Goldenberg)
Bells:
Dukas Sorcerer's Apprentice (Abel)
Mozart Magic Flute (Goldenberg)
Respighi Pines of Rome
Snare Drum:
Bartok Concerto for Orchestra
Prokofiev Peter and the Wolf (Goldenberg)
Prokofiev Lt. Kije- Birth of Kije and Burial
Ravel Bolero
Rimsky-Korsakov Scheherazade - 3rd and 4th movements (Goldenberg)
Cymbals:
Tchaikovsky Romeo and Juliet (Goldenberg)
General crashes at varied dynamics
Tambourine:
Dvorak Carnival Overture (Goldenberg or Payson)
Demonstrate shake and finger roll skills
Triangle:
Brahms Symphony No. 4
Demonstrate roll and single note skills
Timpani:
Beethoven Symphony No. 5 (Goldenberg or Hinger)
Beethoven Symphony No. 9 - 1st and 2nd movements
Brahms Symphony No.1 - opening and 4th movement
Hindemith Symphonic Metamorphosis - 2nd movement
Stravinsky Rite of Spring - Danse Sacrale (Hinger)
Tchaikovsky Symphony No. 4 - 1st mvmt (Goldenberg or Hinger)
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