Need Input on Juilliard audition rep.

[super5james]

Im 16yrs. old im currently a junior in high school this fall and have been training at the pino for the past 4yrs. and Juilliard the place i wanna be.Any ways i need your input on these piecies

Bach-W.T.C.-book1-no.22 Bb minor,23 B Major

Beethoven sonata op.90 or op.110

Liszt-Funerailles,Un sopriro,

Chopin etude op.25 no.1

Schubert improntu op.90 nos.3

I have learned the Beethoven sonata in op.110 yet but i have been working on Funerailles and im half way into it.Im half way into Un sospiro as well.And im good with the other pieices please tell what you think about them

[rachfanatic]

Thats a good set of pieces, im 17 so Im just about to audition for the Royal academy in London, ill be playing similar stuff

WTK Bk1 - P@F in Cmin and bflat maj - Bach
Toccata - Schumann
3 Preludes - Rachmaninoff
Funerailles and Liebstraume no.3

Good luck with your auditions

[quan]

hi think all of your pieces are good for you to paly but i think you need some more upbeat songs ok but i do like them and i hope you have good luck in getting in to that music school

[super5james]

Rachfantaisc i hope your auditon goes well.I heard that that school is very good.My piano teacher wont let me play libiestraumne no.3 very mudch he thinks that if he hears it one more time hes gonna pull out whats left of his hair.Funreailles is very difficult at the climax octave part inst it.

[rachfanatic]

Cheerz, The trick with the octaves of Funerailles in terms of learning is to just take one two bar phrase and play it over and over again untill the tenison and pain is no more.

[steinwayguy]

As I said on the repertoire board, that program is nowhere near where it's supposed to be for a school like Juilliard. People don't play the Aeolian Harp Etude, they play the Winter Wind or thirds etude. And the Schubert impromptu won't do you any bit of good whatsoever. People play the Rachmaninoff Second Sonata or Gaspard de la Nuit for the piece of their choice.

[BoliverAllmon]

I agree. it is a bit too easy.

[pita bread]

Not to mention these pieces are REALLY well known and overplayed.

I suggest:

Morel Etude #2

[i_m_robot]

 

if you are gonna play those you must play to really impress

cuz we all know how many are competing to get into julliard

and how few are actually taken (pretentious bastards )

so light a fire up under their arses and make them drool at the thought of having you

self proposes this repertoire

schumann's toccata

chopin's fugue

beethoven's hammerklavier

liszt's etude "theme and variation"

make them beg for you to attend their school

so the can go "oh yeah he/she attended the school"

[steinwayguy]

Don't do Op. 110.

Reconsider the Funerailles.

By all means do not ever think about doing Op. 25 No. 1 again. The requirement is a virtuosic etude, not an easy etude. I suggest 10/1, 2, 4, 7, 8, 10 or 25/5, 6, 8, 10 or 11

The thought of doing a Schubert Impromptu as the piece of your choice is simply retarded. Here are some examples of what people have done-

Ravel- Gaspard de la Nuit, Miroirs or Le Tombeau de Couperin
Bartok- Sonata
Rachmaninoff- Sonata No. 2, Corelli Variations
Stravinsky- Petrouchka, Sonata
Prokofiev- Toccata or Sonatas
Scriabin- Sonatas No. 5-10
Debussy- Selections from Preludes and Etudes
Barber- Sonata
Berg- Sonata Op. 1
Schoenberg- Op. 11, 25 etc.

[pita bread]

Thanks for suggesting everything I would have suggested 

[super5james]

WELLLL Thanks for your nice comments....Ill stick with the Bach...But for the Beethoven what sonata and Op. no. would be good because i have no idea.Maybe i can do an Haydn sonata? As for the chopin i love the etude in op. 25 no. 1 and the one in octaves how would that be for (Virousitc).Im sticking with Funerailles for The Liszt beacause i make an certain effect with it.And Schubert why its a beautiul piecie.Maybe instead of that how Prokfeiv toccta in D minor op.11 do.

[thracozaag]

WELLLL Thanks for your nice comments....Ill stick with the Bach...But for the Beethoven what sonata and Op. no. would be good because i have no idea.Maybe i can do an Haydn sonata? As for the chopin i love the etude in op. 25 no. 1 and the one in octaves how would that be for (Virousitc).Im sticking with Funerailles for The Liszt beacause i make an certain effect with it.And Schubert why its a beautiul piecie.Maybe instead of that how Prokfeiv toccta in D minor op.11 do.

  If you do Funerailles they might very well ask you to start at the octaves (no joke).

koji

[super5james]

Your right and ive got two more years left until i even get to audition there.But im working at it.The ocatve part in Funerailles is the best part.And the section after it when it returns to an anrgy meldoy.

[steinwayguy]

WELLLL Thanks for your nice comments....Ill stick with the Bach...But for the Beethoven what sonata and Op. no. would be good because i have no idea.Maybe i can do an Haydn sonata? As for the chopin i love the etude in op. 25 no. 1 and the one in octaves how would that be for (Virousitc).Im sticking with Funerailles for The Liszt beacause i make an certain effect with it.And Schubert why its a beautiul piecie.Maybe instead of that how Prokfeiv toccta in D minor op.11 do.

The only Haydn sonata you can do at Juilliard is the E-flat, the last one. Stick with Beethoven or maybe even Schubert. If you want to do Beethoven, do Op. 7 or 90. If Schubert, they only accept a few, but I'd recommend the D Major, Op. 53 or any of the posthumous sonatas, D.958, D.959 and D.60.

The Octave Etude would be good for an audition, but if you're doing Funerailles and they do in fact ask you to begin at the octave part, you won't show off anything if you do the octaves etude too. Since you have so much time, look into the Rachmaninoff Etudes-Tableaux, because everyone does Chopin Etudes and you won't stand out.

The Schubert Impromptu was, to be blunt, a horrible choice. It won't show off anything. The Prokofiev Toccata would be a much better choice.

[super5james]

Yeah..i love the rachiomonv etudes..if i did those mayebe i wouldnt be like everyone esle.
Im not fillimar with beethovens op.7 ill ask my teacher about it.The prokifev toccta is a tough one.Im trying to find piecies that are great but arent heard alot like Liszt-Wangers piligrims chours.

[steinwayguy]

Yeah..i love the rachiomonv etudes..if i did those mayebe i wouldnt be like everyone esle.
Im not fillimar with beethovens op.7 ill ask my teacher about it.The prokifev toccta is a tough one.Im trying to find piecies that are great but arent heard alot like Liszt-Wangers piligrims chours.

You're going to need great, tremendously hard pieces if you want to get into juilliard, son.

[thierry13]

Transcbribe rach 3 3rd movement for solo piano... that should do the job  (kidding)

[pita bread]

Transcbribe rach 3 3rd movement for solo piano... that should do the job (kidding)

A Rachmaninoff Sonata should suffice.

[Nightscape]

Sadly, they are correct.  It is a rather dubious method, but in fact these schools won't consider you unless you play something really hard.  It's just a matter of space, plus these schools also love to keep an elitist image about.

Here's an example of a program that will fail miserably:

Bach - Prelude and Fugue in Bb book 1
Beethoven - Sonata no. 8 "Pathetique"
Chopin - Fantasie-Impromptu
Chopin - Etude op.10 no.3
Debussy - Suite Bergamasque

Here's a program that played well-enough will get you in:

Bach - Prelude and Fugue in Bb minor, book 2
Beethoven - Piano Sonata no. 4 op. 7
Chopin - Sonata no. 2
Debussy - Etude III Pour les Quartes
Copland - Piano Sonata

None of the above pieces are rediculously hard, nor are any easy.  They all require immense musical talent, and the judges will be able to hear than in your playing.  Keep in mind too that no school expects a finished artist... so you don't have to play at the level of an Olga Kern or Alexander Kobrin.  But they will expect you to become that good, and they need to see if you have the potential and are already on the right path or not.

[shasta]

I’m a big fan of auditioning with Variations, since it's "easier" to start/stop per the jury requests.  Plus variations are good for showcasing wide varieties of techniques/feels in one piece - - - more bang for the buck.

Here’s an assortment that vary in their challenges and are TOTALLY UNDERPLAYED:


Rach's Corelli Vars. <-- I've played these. Demanding but a lot of fun.
Rach's Chopin Vars.  <-- to me, more difficult than the Corelli
Herz’s Rossini “La Cenerentola” Vars.
Busoni’s Chopin Prelude No.20 Vars/Fugue
Reger's Telemann Vars. <-- you never hear these, probably because they are the bear
Brahm's Handel Vars. 
Brahm’s Schumann Vars.
Clara Schumann’s Bellini's "Pirata” Vars. <--- my favorite of her stuff, way underplayed
Clara Schumann’s Robert Schumann Vars.
Clara Schumann’s 3 Fugues on a Theme of Bach
Wild’s Virtuoso Etudes on Gershwin Songs  <--- extremely cool
Beethoven’s Prometheus Vars.
Czerny’s Ricordanza Vars.
Thalberg’s Rossini "Semiramide” Vars.
Mompou's Chopin Vars.  <-- fun, but maybe too schmaltzy for an audition

Perhaps you might want to search for audio snippets via Google/Amazon/Classical Music Archives to see if you'd like any of these.   Good luck!

[BoliverAllmon]

that reminds me. I heard a clara schumann scherzo once. It was a really nice piece. Not terribly difficult, but definately not played.

[mwf]

does it mean you only have to play one difficult piece to audition, such as chopin sonata no.2 or rach no.2, or do you have to play other pieces with a main long piece, in other words is there a minimum time you have to play, say 20-40 minutes.

[super5james]

I agree that im gonna need  VERY DIFFICULT piecies to get in to Juilliard.Im Training harder than ever to learn and master these piecies.Im not a big fan of Var. on pieices but they are fine things to play.I have so much time on hands to learn stuff.Im probally not gonna do the schubert Immprountu instead -

Bach predlue and Fugue in B major book 1

Beethoven op. 47 Appasionsonata

Chopin-ballde  no.1 or Chopin etude op.25 in C minor

Liszt-Benditcion to god soultue for Harmoine poeticies or Un sosprio
Thoughts of the dead.

I have many things to Choose from

[BoliverAllmon]

I wouldn't do the g min. ballade. OVerdone.

[super5james]

Yeah but its a passionate peice how about the ballade no. 3 thats a good ballde to.

[shasta]

Yeah but its a passionate peice how about the ballade no. 3 thats a good ballde to.

I agree with Boliver.  Ballades are overdone.  For a meaty romantic piece, look at Albeniz's Iberia or Schumann's Kreisleriana.

[super5james]

hmmmmm albeniz iberia sounds tempeting

[burstroman]

Hi.  Concern yourself more with conveying the meaning of whatever you play at the audition than showing off your technique.  That should come second.  Show them that you are a musician.  Best wishes!

[pianowelsh]

Hi James can I honestly ask YOU What do you like/enjoy to play? Because i cant stress enough how VITAL it is that you really play something you love and are at home with for an audition or competition or the like because nerves run high and there will be aLOT of practising going on in the run up and if you dont particularly like the pieces you will hate them or at least be bored of them when you get to the audition - and for sure you wont get in if thats the case because they pick up on that VERY fast and you have to remember that unless ou are totally super human you will be very nervous when you audition especially at Julliard so frankly my advice would be to play something in your programme that is tried and tested and not a complete new programme and dont try to play right at the edge of what you can manage - play whats comfortable (relatively speaking) and enjoy it! Of course you need to show you can play technical pieces but honestly everyone who applies to these places can you MUST show them more than your fingers you need to show them your obvious enthusiasm for music and the piano so pick a broad spectrum of pieces and show them your musicality (something i cant know from your posts really - but you must have it in abundance!) A painter who paints in one dimension gets boring after a while similarly if you only show them one facet they will get bored and they (exam panels in general) are always looking for someone who will excite them! There will be plenty of time at the Julliard to hack off all the HUGE works  but as it has been said on this and other threads the purpose of music study is not to compete with each other to see has the longest rep list or the most number of 'impossible' pieces on it. Music is about communicating something to YOUR audience if you dont they may as well have watched the shopping channel for 45 mins! In your preparation - whatever repertoire you choose concentrate on expressing the music and communicating your thoughts rather than purely technical finesse because its both and.. that makes a pianist!  I wish i could say that exam panels are mature enough to recognise that the repertoire you play is not important and it is the potential in the playing and the individual that is important - by and large this is true but many faculty heads have repertoire hang ups and really you need to know someone in the system at the Jullirad to avoid these. I have stopped caring about these 'hang ups' now because i dont see why some pianist on the way out of their career should dictate to me arbitrarilly what i should and shouldnt play. May seem strong but when you think of the influence these people have on thousands of young pianists and how they attempt to control what is played consiously or unconsciously it is quite frightening. Just take alook at how narrow the competition and audition syllabuses have become these days and how much fantastic music is written off and not played because its too easy for this level or not on the list or simply unfashionable at this college.  At the stage you are at in your career you cannot afford to be too reactionary but i urge you and every other young pianist not to be squashed into the conservatoire mould see my post on 'why are concert pianists today boring' - well thats my rant - play what you want within the confines of your syllabus but be origional and be true to your musical persona!

[moose_opus_28]

I think someone should make the point that you need to be able to nail these pieces.  Don't do a piece that you don't like, and don't try to cram something insanely hard, like Scarbo, unless you know you can handle it.  Everyone who said stay away from 110 is absolutely right.  Late Beethoven at auditions would be like a 12 year old learning Brahms concerti.  It's just not supposed to be done.  Try to get at least a couple of lesser known pieces also.  Opus 7 is a great sonata, since it isn't played as much as many others and it's very hard. 

And don't pin all your hopes on Juilliard.  It can be quite random, and some good friends of mine who play extremely well didn't get it.  Try other schools like Eastman, and find some of the best teachers at state schools in your area that know you can get into just for backup.  Also play for a teacher or two at each conservatory if at all possible.  I couldn't make my audition up at Eastman and I sent in a crappy tape, but still got in because I knew Dr. Humphreys.  It's just the way auditions can be.

[super5james]

What i like to play is the kind of music that will put the adudicne at ease or think awww like a gril having her 1st crush.I consider my self a romantic.My reptiorie is manily that of the 19th centruy.Like Liszt,Schubert,Alakn,Chopin.I play piecies that aslo remind of people,girls,Places ive been.Like Funrailes i played that piecie thorugh very dark time in my life.Like when where in a hurricane.And when i found out my teacher had died.Those kinds of piecies transfroms me it a tornado fo passions and feelings.Ive benn working very hard on my audtion piecies for a while.If i dont get in i can always try again.If i do get an audtion i WONT BE NERVOUS......Things like Juilliard dont get me scared.The only thing im worried about is....My teacher said  ill get into the school is staying in thats gonna get me.So im working hard.I practice for 12 hours a day until i get exauteld.

As for my true musical personality it constis of angry,happy,love,depressing stlye.
Like when i like a gril i learn a piece because it reminds me of her.And when get together i start playing happy piecies.But when things end its Angry,Dark piecies like beethovens moonlight  3rd movementor Liszt funerailles,Or Even chopins nocturne in E minor.
Those piecies refelct who i am.Of course some of you may say that there overplayed but that doesnt matte>

Is not what you play but how you play it thats gonna matter>

[moose_opus_28]

That's true to a certain degree.  However, you would have to give the most amazing performance possible of the 1st ballade to be noticed.  The Beethoven Op. 47 is another one that is NOT good to do unless you can give a masterful performance that floors the audition jury.  And you'll only play for a max of 10 minutes out of this whole program.  Going with all popular pieces is just too risky.  If you aren't absolutely incredible, you'll just be seen as another kid trying to play all the famous pieces and not quite making it.

[moose_opus_28]

And something else.  They do care about technique there.  Make sure your various revisions settle with at least 1 very difficult etude and/or big piece.

[jehangircama]

Has anyone done Schumann's Carnaval for an audition?

[super5james]

Yeah i know that techinque is improtant.Im porbally not gonna do all popualr pieces.Heres my updated list

Bach-WTC Book 1 no.23 B Major or no.17 in A flat Major

Beethovens Appasionsonata

Liszt-Bediticon in God of soultue from the Harmmonies.

Chopin-Etude op. 25 in octaves or Liszts Gnnomereign

Prokeifv-toccta op.11

Hows that.And i dont not know if any has audtion with schumanns carnval but it may be a nice choice..

[dbrainiak914]

What was e60m5's program for that thing?  I remember it was absolutely insane.

[jehangircama]

one set of pieces that i haven't read about on this forum is the Chopin polonaises. why don't people play those in auditions? they aren't that easy and they are delightful pieces even if well known.

[pita bread]

Yeah i know that techinque is improtant.Im porbally not gonna do all popualr pieces.Heres my updated list

Bach-WTC Book 1 no.23 B Major or no.17 in A flat Major

Beethovens Appasionsonata

Liszt-Bediticon in God of soultue from the Harmmonies.

Chopin-Etude op. 25 in octaves or Liszts Gnnomereign

Prokeifv-toccta op.11

Hows that.And i dont not know if any has audtion with schumanns carnval but it may be a nice choice..

Those are some pretty popular pieces you got there...

[phil13]

one set of pieces that i haven't read about on this forum is the Chopin polonaises. why don't people play those in auditions? they aren't that easy and they are delightful pieces even if well known.

Yes, I was wondering about that too. Why is it that I've not found ONE person who was using them besides Op.53 'Heroic'? The thought's crossed my mind about using Op.71 No.3 in F minor for my auditions...

Phil

[jehangircama]

oh and appasionata is opus 57 not 47.
phil, what about military.  do you play that?

[trix]

Yes, I was wondering about that too. Why is it that I've not found ONE person who was using them besides Op.53 'Heroic'? The thought's crossed my mind about using Op.71 No.3 in F minor for my auditions...

Phil

I would think op.44 (f# minor) would be very (over)represented?...

[jehangircama]

i have a question. why is it that people frown upon 'popular' pieces considering the fact that they are really very beautiful works of music. isn't it more important to have a nice programme than to have a obscure 'different' one? its just a question....

[phil13]

oh and appasionata is opus 57 not 47.
phil, what about military.  do you play that?

Yes. I do play the military polonaise. And I'm working on it's opus counterpart in C minor.

i have a question. why is it that people frown upon 'popular' pieces considering the fact that they are really very beautiful works of music. isn't it more important to have a nice programme than to have a obscure 'different' one? its just a question....

Ok, here's what I think. The judges at these auditions have probably been doing their job for some time, several years at least. If a piece is popular, then they have heard it over...and over...and over until it's painful to their ears. And let's not forget that some of these interpretations would be painful to OUR ears, too, even if we love that piece to death. So, people who go out with popular pieces have to do a MUCH better interpretation than they would have to with a piece that nobody knows. Many don't want to take that chance, and choose to side with the obscure piece.

But it's not everybody. For my auditions at Rice and Oberlin I'm working on Beethoven's Piano Sonata No.8 'Pathetique', a sonata that is known to be horribly overplayed. But, I'm confident that by taking the rest of my time to make the interpretation perfect, I'll be all right.

Phil

[tabris]

Just out of curiosity, how does anyone think this audition would do.

Bach: Partita 1 or 5
Beethoven: Sonata op. 27 no. 1, op. 31 no 3, or op 109
Chopin: Grand Polonaise Brilliante
Prokofiev Sonata no. 4 or Copland Appalachin Spring

Thanks

[Nightscape]

If that Copland is an arrangement for piano, they might not appreciate that (unless its a virtuoso transcription or something)