University of Toronto Performance Program Audition Rep.

[luch]

Hi, this is my first time posting here so please forgive me for doing anything wrong.

I'm aiming to audition for U of T's performance program and am currently studying with a professor who teaches there, but am nervous that my repertoire selection may be too easy considering the stiff competition.  I'd greatly appreciate some reassurance in my repertoire selection or suggestions.

Everything must be at the ARCT level, so my selection thus far has been
Baroque: J.S Bach Prelude/Fugue BWV 857, WTC1 in F minor
Classical: Mozart k310 A minor sonata, mov 1 and 2
Romantic: Chopin Nocturne 48/1
Modern: Samuel Barber Nocturne (devoted to John Field) Op. 33
Etude: Chopin 10/4 or 10/1

Despite being confident in my technique and musicianship, I suffer greatly from stage-fright and confidence in general.  Can anyone give me any tips about getting more acclimated with performing publicly? So far I've found some groups on meetup.com who gather monthly for amateur recitals, anything else would be greatly appreciated.

P.S I've been out of practice for a few years now, and have only recently gotten back to practicing 5ish hours a day, so my general confidence is low, but I've memorized all my repertoire beside the Barber Nocturne and am working on improving it for performance, and I still have until march/February.  The other main hurdle is I've only been playing for 8ish years, (started at 12), so I've much catching up to do.  Any words of reassurance or guidance will help me greatly.

Thanks for reading this, I hope I'm not too imposing.

[visitor]

Given your teacher is a professor there, are they not most qualified to tell you if your playing or lit are to a competitive standard?
 
You already have a chopin noctturne and romantic lit will usually be where you can showcase a technically more demanding work. So you might reconssiderif yooudo now choose something w a higher technical buy in for modern

to also have a noctuurne by a composer.born in 1910 seems a bit redundant , also Barber is hardly "modern" it is closer to modern a Debussy Ravel, or Prokofiiev which some label incorrectely so

i would consider a Canadian compoesser, also its more closer to modern. Macintyre was born in 1952 and is still alive.

look at his tocatta as a nice contrast.
 

[luch]

Given your teacher is a professor there, are they not most qualified to tell you if your playing or lit are to a competitive standard?
 
You already have a chopin noctturne and romantic lit will usually be where you can showcase a technically more demanding work. So you might reconssiderif yooudo now choose something w a higher technical buy in for modern

to also have a noctuurne by a composer.born in 1910 seems a bit redundant , also Barber is hardly "modern" it is closer to modern a Debussy Ravel, or Prokofiiev which some label incorrectely so

i would consider a Canadian compoesser, also its more closer to modern. Macintyre was born in 1952 and is still alive.

look at his tocatta as a nice contrast.
 

Hi, technically the university's criteria for modern is just 20/21st century work, which the Barber piece definitely is, they even say Debussy/Ravel are acceptable.  The thing is that I'm concerned that I may not have the time to prepare so much.  The ARCT level pieces that are 20/21st century are mostly very challenging.  Perhaps I should change the Chopin Nocturne to a Ballad and leave the Barber work.

This is why I'm confused, because as it is, my repertoire technically fits the university's criteria perfectly, but I am still skeptical.  and that Muczynski piece seems like a good fit, thank you for your suggestion.

[quantum]

U of T can be a puzzling animal at times.  There are a lot of people that want to go here for music, and the faculty somehow needs to make candidate selections.  However, the manner and consistency in which this is done can appear inconsistent, that is to my own observations and those of my colleagues.  You can have an impressive program and ace your audition, yet not be offered admission.  Piano is a rather competitive instrument to audition for.  

For those people who really want to attend U of T, it is not uncommon for people to apply multiple times.  Some choose to attend other universities for a year or two in a music program, then re-apply to U of T.  Be warned, U of T does not always recognize credits from other universities meaning you would have to start again from zero.  

The above likely is a compounded issue.  As an applicant for an undergrad music program at U of T, you not only are applying alongside people your age, but also more experienced musicians - some of which have studied at the college or university levels.  

Have you had a look at university culture at U of T?  Don't underestimate this factor.  You can be in a wonderful program, yet be miserable because the culture is not a fit for you.  Make sure the student life at U of T is something that works for you.

What other universities are you considering?

Agree with visitor, a Canadian composer would be a wise choice.  It would set you apart from others presenting impressive workhorses from the well beaten path.  

[luch]

Alright, I'll probably pick up Oskar Morawetz's Scherzo then, thanks for your input.

I'm not planning on attending any other schools since my teacher is at U of T and I only want the best education to foster my abilities - it's also conveniently easy to commute to since i'm in the city. 

I was thinking about auditioning for York U and McMasters just for practice, but not accepting the offers.

I have no idea about university culture, how do I go about learning about it? Campus tours?

Given everything you said, I guess I'm fully prepared to audition again if I don't get accepted, it'll only give me more time to work on my technique, find competitions to perform at and better my musicianship.  At my current age (20) and skill level, I feel like continuing to take private lessons as I am now will be more beneficial than going to a university like York, which to my knowledge has a very simple program.

Also, now with the Morawetz Scherzo, what would you say about the competitiveness of my repertoire?  And, how important is the ear training tests in the audition?  How much weight do the references really have?  I'm sorry if you don't know any of this but I'm overwhelmed with anxiety, considering this will be my first time applying to any post-secondary institution.

[quantum]

I'm not planning on attending any other schools since my teacher is at U of T and I only want the best education to foster my abilities - it's also conveniently easy to commute to since i'm in the city.  

Preparing only U of T as the sole university of consideration is very unwise IMO, especially since you seem to be interested in auditioning on piano.  There are many universities in Southern Ontario with great music programs.  

Also, I would advise not to limit your private lessons to a single teacher.  Studying with more than one teacher brings you perspective.  It may make you want to pull your hair out at times and drive you up the wall, but you will be a better musician because of it.  Studying with a teacher you are familiar with brings depth, but you also need to develop breadth.  Multiple perspectives will also help you to adapt better to masterclasses. 

I was thinking about auditioning for York U and McMasters just for practice, but not accepting the offers.

It would be sensible of you to audition at multiple places.  But don't close any doors, things can change and you will be grateful at having added opportunities.  


Regarding university culture: talk to current students, talk to past students, talk to teachers that went to the university (they doesn't need to be exclusively music students).  This aspect was severely downplayed when I was applying, but fortunately many of my high school teachers were willing to share their experiences.  Don't take it lightly, you will be spending a significant amount of time at the school, so it is wise to choose a school that you would enjoy attending.  

I feel like continuing to take private lessons as I am now will be more beneficial than going to a university like York, which to my knowledge has a very simple program.

I'm sure that's what certain folks downtown may want you to think.  If you have been fed this information by someone at St. George looks like you've already got a taste of what U of T culture is like.  Take it upon yourself to research other universities.  For example: York's entire course catalogue is available online, in full public view.  Those offerings are not something I would describe as "simple." York's program does provide significant opportunity for independent thinkers.  Have you had a look at places like Queen's, Western, W. Laurier?  They too have fantastic music programs.  

There is more to music education than private lessons on the instrument.  That is of course part of the reason one seeks a university education in music.  Naturally, those with partial university experience will still have an edge over you in the audition process.  They would likely have beefed up their skills through 1st year foundations courses.  


Since you do lean towards U of T, have you thought of what you would like to specialize in?  Looking into future paths would be something to take into consideration when designing your audition rep.  Have you done the tour at Edward Johnson building?  Seen the dungeon?  The library? Recital hall?

[luch]

I would study with another teacher, but as of right now I'm totally focused on my repertoire and getting up to university standard.  And as weird as this may seem, I've been with the same teacher for 8 years now and we've developed a pretty close relationship - he's almost like family to me - so studying with another teacher feels odd, even though it really shouldn't.

I will probably audition at other schools.  Perhaps you're right, studying at York or Mac may be a better allocation of my time than continuing with my teacher alone.  Especially since the tuition here in Ontario is going to be much cheaper starting next year.  I have considered other schools, but I don't want to have to travel outside Toronto for it.  Part of U of T's appeal is its prestige and proximity.  That being said I'm only considering York as a viable alternative, perhaps Mac but it's also quite far.

I've talked to many people who've attended U of T, some loved it, and others said its a very stale, stuck up and old-fashioned place.  I personally think I'd enjoy the rigor and pretentiousness of it, but I can't say for sure till I've attended.  I've been to the faculty building, even played on the piano in the recital hall once.  I've walked around all its floors and do enjoy its calm atmosphere, even though it's somewhat reminiscent of a high school building with harpsichords and pianos in every room.

I know that focusing on simply performing and interpreting music on the piano is a very small part of being a well-rounded musician.  I'm studying with another teacher to learn more about harmony and form as well as prepare for the RCM Harmony 5 exam.  I'm very interested in jazz and love many genres of music, I love improvising and feel like I have a knack for composition that needs developing.  That being said I'm considering getting into U of T with piano performance and then switching to composition later.  I also feel very confidently that my talents and abilities at simply performing classical music are well above average (from what my teacher and multiple adjudicators at competitions have told me), and I need to perfect my technique and overcome my stage fright.  Perhaps beyond that I can become a concert pianist.  But what does my audition repertoire have to do with any of that?  Isn't it just to show that I can study at the university level?

[quantum]

But what does my audition repertoire have to do with any of that?  Isn't it just to show that I can study at the university level?

Yes, the primary reasons behind your audition material is to see if you have the stuff to succeed in the program.  However, in the perspective of personal development, knowing what your future focus will be will allow you to prepare early for it.  You can use your current audition rep as a launching point for future endeavors.  Planning early will also help you focus your efforts and in the long run may save precious time in building repertoire.  The importance of economizing work will become very apparent as you progress through your degree.  

It sounds like you have broad interests in music and are well on your way to becoming a well rounded musician.  I am particularly pleased to hear you are interested in improvisation.  U of T's  program tends to cater to people with an intense focus on a particular aspect of music, ie. performance, teaching, composition, musicology, etc.  However, if you are someone that would like a bit of each the rigidity of the program could prove frustrating.  Not all universities have programs that require you to follow a strict path in specialization.  It is something to think about.  Of course you could supplement your university education with private lessons and non-degree courses in the subjects that interest you.  

If you understand U of T culture and think it will benefit you - it looks like you have a very good idea of what you are getting into - then by all means go for it.  I know it is difficult to fully understand student life at a particular university without having walked in those shoes.  

With regards to your concerns in public performance: you need to play in public more, it sounds simple but it's what is needed.  Public performance does not have to be formal recitals, concertos, competitions and the like.  Play in a seniors residence, hospital, dance studio, church, accompany choirs, and the list goes on.  All of these things build up your public performance experience and endurance.  You don't even have to play technically difficult music, just aim for playing well in public and enjoying the experience without undue anxieties. 

Another thing you could do is record yourself.  Pretend it is a performance and make a journal of your recordings.  

Speaking to your program, I do concur with Visitor about the romantic selection.  This is one place you could use to display your technical aptitude.  

If you are uneasy with 20/21st century music, you could go with a character piece - something that is not too technically demanding yet shows your ability to musically voice a certain character, preferably in contrast with the rest of your program.  You have a lot of options to expand outside of the RCM syllabus here and present pieces that are unfamiliar to the jury.  Visit the CMC library and explore.
https://www.musiccentre.ca

[luch]

Speaking to your program, I do concur with Visitor about the romantic selection.  This is one place you could use to display your technical aptitude.

Is that implying that the 48/1 Nocturne doesn't show enough technique?  Would it be wiser to switch it out with say a scherzo or ballad by Chopin?

I have been recording myself, and as soon as I get my repertoire mostly down-pat, I'll be looking for seniors' homes, churches and other venues to possibly play.  I'll have to start making some calls.

I love that U of T has strong focuses on certain fields. I'm not too interested in learning little about lots, I'd rather be an expert in one given field.  Learning composition and analysis seems like something I'd greatly enjoy, and the rigorous education at U of T would definitely give me greater understanding in the field.

You are definitely right about planning ahead, it's what I've been trying to do for the past few years, only now have I gotten the green-light from my teacher that I stand a chance at the audition.  My main plan now is to perfect my playing as much as possible, and I aim to pick repertoire which greatly challenges me.  Having said that, one of my greatest anxieties now is the prospect of not getting in, and having a whole year of doing nothing.  Then again, maybe that'll motivate me to come back the year after with a much more impressive and broad program.  Another extremely difficult issue for me to overcome has been learning to practice again.  After years of casually playing and not taking it seriously, getting back into music with the aim of perfection is extremely difficult.  I find it hard to juggle days to study my entire repertoire.  Sometimes I spend a few days on just a few pages of music rather than alternating and learning everything.  Economizing my time and organisation is something I must learn.

I'll definitely have a look at the CMC library, I know that ARCT level is only a guiding standard for U of T, so the repertoire needn't be on the list.

Thank you so much for your help, I greatly appreciate the time and effort you've taken in responding to me so thoroughly.  Your insights have shifted my perspectives and given me new ideas about approaching my goals.

[quantum]

Is that implying that the 48/1 Nocturne doesn't show enough technique?  Would it be wiser to switch it out with say a scherzo or ballad by Chopin?

I play 48/1 and know of its technical and musical challenges, which are many. Nonetheless, it is common to place a large scale piece in the romantic spot, such a Chopin Scherzo or Ballad. If you already play one of the Scherzi or Ballads, then it would be good to consider.  However, also consider that the Scherzi and Ballads are very popular choices for auditions, the jury will hear them very frequently.  If you need to spend time learning something, consider doing something less commonly played.  

If you had a different program with say a demanding Beethoven Sonata with a really out there 20th century work, maybe the 48/1 could work to calm things down. 

Generally you will use a repertoire different to your audition rep for playing in seniors homes and churches, so no reason to wait.  Also it is good to present work-in-progress pieces to the public - you will be doing this a lot throughout a music degree as a course requirement.  These kinds of gigs can be lots of fun, so choose rep that will allow you to have fun and not worry too much.

If you throw the notion of perfection out the window, it will go a long way to relieving your anxieties about performances.  Sorry to say, perfection will not happen.  But if you let go of perfection, you can make the move from worrying about notes and technique, to saying something with the music you play.  Perfection may not be a reality, but once you move past it, there is something much better than perfection around the corner.  

Think of what you want to do after you graduate with a music degree.  Do you want to do graduate studies? Do you want make a career out of music?  Is this only a fun degree, where you will use a non-related skill to make money?  A focused course of study, such as the U of T program, is good for moving up in academia and certain specialties like opera or musicology.  If you plan to work as a pro musician after graduation, keep in mind that those people that are most successful are ones that are not one trick ponys.  A successful person with career in music will tend to have a versatile skill set, well educated in many music disciplines, flexible, and are entrepreneurial.  

[luch]

Alright, I'll probably switch out the nocturne with Ballad 1, even though it's the most famous one it's still my favourite.  I guess I'll have to find something in the music to make my rendition stand out from the average.  Given all that I guess my final program will be Bach BWV 857 prelude/fugue, Mozart k310 mov 1/2, Ballad 1 by Chopin, Barber Nocturne and Chopin Etude 10/4.  How does that sound?

Generally you will use a repertoire different to your audition rep for playing in seniors homes and churches, so no reason to wait.

That's a good idea, I guess me saying that I'll wait till my rep is done is a form of procrastinating.  I have some jazz standards I could improvise, some old preludes by Chopin which I know well, along with many things I've learned that are short and sweet which I'm sure the elderly will enjoy.  Most people don't really care if your left hand isn't in time or your phrases are poor, as long as you don't stop entirely the lame listener will enjoy it.

It's difficult to let go of perfection, even though I know in my mind that all art is perfect in its subjectivity and imperfection.  The notion of perfection is something that I guess causes me great anxiety and ultimately is a cause for much of my stage-fright - getting through the piece without mistakes becomes my main priority instead of enjoying myself on stage.  I hear my teacher often times saying that I should focus on what I'm playing, rather than how.  I find that I enjoy music most when I'm playing for myself and for the enjoyment of sound.  I guess that's something I must convey everywhere.

My end goal is pursuing a career in either academia and/or having a career in music.  I want to go to graduate school for sure, at least that's how I feel now.  I feel like I ultimately don't know enough of what I love to know what I truly want, which is what excites me most when it comes to university.

[visitor]

Alright, I'll probably switch out the nocturne with Ballad 1, even though it's the most famous one ...

totally better step in the right direction, however, you should tread cautiously, almost as , if not more so , problematic for entirely different reasons. unfortunately some of the warhorses (similar to the op. 53 polonaise, and others) become less than stellar choices (for non recital type stuff)  as they can be quite polarizing, you may have a panel judge that absolutely loves the piece (which can mean harsher judging of any little error or interpretation not to their aesthetic leanings), or they'll 'check out' because they can't stand to hear it again again at the level of presentation (usually these folks don't hate the piece for the sake of it, they've just been beaten over the head enough times that anything less that something really special is tiresome, ok in some instances though ie maybe at the artist diploma or a MM or DMA level maybe they'll sit up and take notice if there is a refreshing take on it etc.).

your initial statement says you have a private teacher that is a professor at your top choice school, it's best to run these notions and plus/minus of selections by her or him.

were it me, I would look for something perhaps in the standard but less often played that you love or can grow to love, or if you load up your lit w/ standards and the modern selection isn't too far out there (i like your idea above on that btw) then something well crafted but totally ignored may fit the bill.
since you seem to want to stick a Chopin work in there, here's an idea to consider and discuss w your teacher
ie Theodre Leschetizky (RUS 1830-1915) is not obscure but he does get forgotten oustide of Russia, Eastern Europe, etc , and the name Paderewksi should be totally familiar, so here is a Leschetizky piece dedicated to Paderewski but in hommage to Chopin.

only an example as gems to look out for that you might want to consider and discuss w your prof

[luch]

were it me, I would look for something perhaps in the standard but less often played that you love or can grow to love

I completely agree with you.  A more obscure piece that hasn't been heard a hundred times by the people at U of T would definitely be better.  Sadly I just don't have the time.  I've picked all that rep because I've more or less already learned it all in the past and only need to remember most of it.  If I were to pick a totally new romantic piece I'd be afraid that I couldn't learn it in time, especially if it were as difficult as a Chopin Ballad.  I'll have to run the risk of the judges hating my rendition or just being tired of it.  The audition is in February most likely, so I'm tight on time.