Honestly, and this is only my opinion, I fear that you will be outclassed in terms of repertoire by many of the other students. While not easy pieces by any means, the Schubert, Liszt, and Chopin are not really what they're looking for. Especially the Chopin, as 25/1 is considered one of the easiest of all his etudes. I would suggest any of the most difficult ones, if you want to do a Chopin etude (10/1, 10/2, 25/6, 25/11). These will be played more frequently, though, so your competition will be fierce (not to say that it isn't anyway). The above given suggestion of learning several may also prove helpful. If you can play a middle-of-the-road etude extremely well, that might work well, too. But avoid 10/6, 25/1, 25/2, and 10/12. The Beethoven is a tremendous piece, but they will pick on you very heavily for playing a late sonata. I don't agree with the idea that young people can't play late Beethoven, but the audition is not the time to debate the fine points of this issue.
I'm looking at the pdf of their rep requirements right now, these are my initial reactions:
1. Asks for a Bach work with a fugue:
Your WTC selection is reasonably good, especially if you play it well. The Chromatic F&F is not a bad choice, either.
2. Either Beethoven, Haydn, Mozart, or Schubert
I really like the above poster's suggestion of doing the Schubert. They give you several selections to pick from, and if you did a really great Wanderer Fantasie, for example, I believe that it would impress any panel that you'll face. If you still want to do Beethoven, I'd go earlier: op. 7 is a good idea, but don't limit yourself to what we say: listen to all of the Beethoven sonatas, which will broaden your understanding if nothing else, and pick your favorite. Pick one that you badly want to learn, that you can truly convey well, which is really the key to auditions. Again, though, avoid warhorses: Pathetique, Tempest, Waldstein, etc.
3. A substantial composition by Chopin, Schumann, Brahms, Liszt, or Mendelssohn:
I'm not fully comfortable with playing Funerailles here. It's a fine piece, but again, not really in league with what they're looking for. I'd suggest that you look at Schumann (Fantasie in C would be amazing, also consider Abegg variations) and Brahms (Third sonata, variations on Handel or paganini, etc.) in particular. With Liszt, there's obviously the Sonata in B, which is somewhat of a warhorse, but would nonetheless make a great impression if performed in titanic fashion. He's also written pieces such as the Norma Fantasy, and the Reminisces de Don Juan that may be worth looking into. If you insist on doing Chopin, consider the polonaise-fantasie op. 61 or the Fantasie in f minor. Avoid the Scherzos and Ballades in general, as these are very much overplayed at all such auditions.
4. A virtuosic etude by Bartok, Chopin, Debussy, Liszt, Prokofiev, Rachmaninoff, Scriabin, or Stratinsky:
I've already commented on Chopin above, but I really think that you should pick a different composer for this, as well. For Bartok, I'd recommend that you consider the etudes op. 18, although they are devilishly difficult. Debussy's etude #12 might work, and maybe you could do some unusual scriabin like op. 42 #6 or any of the op. 65 etudes. With the Scriabin, though, avoid op. 8 #12 and op. 42 #5. These etudes that I've mentioned are not nearly so overplayed, and show some diverse taste in repertoire and technique. Some Rachmaninoff possibilities in op. 39 include #'s 1, 3, 6, and 9. While I don't care for the piece, op. 33 #6 is also rather popular (which may be a good reason to avoid it).
5. A complete work of the contestant's choice by a composer other than one previously selected.
Here is where you must impress with a creative choice in repertoire. As you've already hit all the major divisions of music history above, except for the modern, I'd recommend that you pick a twentieth century work of some kind. It should be fairly difficult. Some choices to consider are: Stravinsky's Petroushka, any Boulez sonata (#1 isn't that impossible), a work of Ives, such as his sonata #1, the Copland Sonata, Piano variations, or piano fantasy, the Barber sonata, maybe a Scriabin sonata, Ligeti's etudes bk. 1, Corigliano's etude fantasy, et al. These are more obscure, but you could consider a sonata by Mathias or Pickard, Sessions, or a piece by Carter. A more difficult selection from Messiaen's 20 regards or his catalogue of birds would be very impressive, too. There is vast variety to choose from, and you don't even have to go atonal. Rachmaninoff wrote another sonata, in D minor, that is quite beautiful. Reger wrote large variation sets on Telemann and Bach that are very difficult, but would certainly impress any jury. The selection is tremendous, and I've only scratched the surface here. One final thought regarding the Prokofiev sonatas, which are fairly frequently encountered as the modern rep. #3 and #7 are very much overplayed, and #6 is fairly overplayed, as well. I'd suggest playing #4 or #8, or maybe even #9, instead.
I realize that all of my above selections are challenging (although you can pick some rather easier ones from any of the categories), but to get into Juilliard, or any other such place, you need to be prepared to meet, and achieve, difficult goals. You must be prepared to work, and study, and give tremendous amounts of energy over to your goal in order to stand out.
As a final aside, remember that within the bounds of reason, how you play matters more than what you play.
Good luck!
Topic: Juilliard piano reptiroie