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That is a strong and demanding set of pieces, and a serious list of schools. In general, everything you mention is suitable for a master’s audition, so it really comes down to two things:

- Prioritize the pieces you know best and that most clearly show your technical and musical strengths.

- Think carefully about the overall combination, so that it shows a wide range of styles and characters.

On the first point, you’re obviously the best judge, but I would be cautious about going for a relatively fresh Chopin étude like Op.25 No.12. It can easily eat a lot of practice time just to keep it secure, time that might be better invested elsewhere for now.

Regarding the combination, although all the pieces are appropriate, the program leans a bit toward the heavy and dense side. With Waldstein, Kreisleriana, and Prokofiev 7, I would avoid Chopin Op.10 No.4 and instead choose Op.10 No.8, aiming for a lighter, brighter, more playful character.

Both Waldstein and Prokofiev 7 are structural masterpieces and let you show control over large forms in a way the Liebermann perhaps does not. At the same time, the two first mentioned are also very overplayed in this context, so you really need to know exactly what you want to say with them, and of course be fully in control in an audition situation.

Is this for live rounds only, or also for prescreening videos?