Music at the Juilliard School
Strings
audition
information
Violin (MM)
Prescreen
Repertoire
The completeness and thoughtfulness of live audition repertoire
submitted with the application is a factor in the decision whether to
invite a candidate for an audition.
- A slow and fast movement from a 19th-, 20th-, 21st-century
concerto.
- One movement from an unaccompanied Bach sonata or partita.
- One Paganini caprice.
Live
Audition Repertoire
Of Nos. 1, 3 and 4, one work must be a selection composed since
1960.
- Memorization of music since 1960 is encouraged but optional.
All other compositions must be performed from memory except for duo
sonatas.
- Please minimize piano accompaniment interludes.
A complete concerto from the 19th-, 20th-, 21st-century.
- Two contrasting movements from an unaccompanied Bach sonata or
partita. No repeats please, unless ornamented. A dance section and its
double constitute one movement. The Chaconne from Partita No. 2 in d minor
will satisfy this requirement.
- A Classical-era sonata for violin and piano. If the Beethoven
Concerto is chosen for No. 1, a Romantic or 20th- or 21st-century sonata
should be played.
- At least one brilliant concert piece.
- One Paganini caprice.
Accompanist
information
- Works with piano accompaniment must be accompanied for the live
audition.
- We encourage you to use a Juilliard accompanist for your
audition.
- Accompanists will be provided free of charge for the audition;
please note that accompanists charge fees for rehearsals.
- A list of accompanists will be provided approximately two weeks
before auditions. You must contact an accompanist from the list two weeks
prior to your audition and provide him/her with a piano score of the
repertoire for the audition.
- If you wish to bring your own accompanist, you may do so.
However, Juilliard will not pay him/her, nor can your Juilliard audition
be rescheduled around your accompanist's availability.
- If you plan to play with a Juilliard-provided accompanist,
please carefully consider general familiarity of your repertoire.
Juilliard cannot guarantee accompanists will know unusual or non-standard
repertoire. Please be particularly mindful to select contemporary works
that have become standard repertoire or have piano parts which are easily
sight read. If the Juilliard accompanists hired for your audition day are
unable to learn or sight read a non-standard work, you may need to play that
work unaccompanied.
Violin (DMA)
Prescreen
Repertoire
- The completeness and thoughtfulness of live audition repertoire
submitted with the application is a factor in the decision whether to
invite a candidate for an audition.
- A slow and fast movement from a 19th-, 20th-, 21st-century
concerto.
- One movement from an unaccompanied Bach sonata or partita.
- One Paganini caprice.
Live
Audition Repertoire
Of Nos. 1, 3, and 4, one must be a contemporary selection
composed since 1960.
- Memorization of music since 1960 is encouraged but optional.
- All other compositions must be performed from memory except duo sonatas.
- Please minimize piano accompaniment interludes.
- A complete concerto from the 19th-, 20th-, 21st-century.
- A complete Bach sonata or partita. No repeats please, unless
ornamented.
- A sonata for violin and piano. If the Beethoven Concerto is
chosen for No. 1, a Romantic or 20th- or 21st-century sonata should be
played.
- Two contrasting brilliant concert pieces.
- Two Paganini caprices.
- A complete concerto by Mozart. The candidate is strongly
encouraged to offer his or her own cadenzas.
Callbacks
The DMA audition process will take at least
two days. In general, you should plan to be available for the entire day following the
scheduled audition date.
You must be available for all portions of
the audition process in order to be considered for admission.
Upon the strong recommendation of the
audition panel, you may be invited to a required interview with members of the
Doctoral Governance Committee, usually on the day following your audition.
Interviews are scheduled daily by the Admissions Office as audition results
become available. This interview is, in effect, your callback.
If you are not invited to the interview,
you may reasonably conclude that you are no longer under consideration for
admission.
You must also take a written exam in music
theory and music history. Exams are given Monday through Friday during the
audition week and include exercises in harmonization and counterpoint, as well
as a music history component. In general, only those invited to interview need
write the exam; however, it may be written on any date that it is offered.
Accompanist
information
Works with piano accompaniment must be accompanied for the live
audition.
- We encourage you to use a Juilliard accompanist for your
audition.
- Accompanists will be provided free of charge for the audition;
please note that accompanists charge fees for rehearsals.
- A list of accompanists will be provided approximately two weeks
before auditions. You must contact an accompanist from the list two weeks
prior to your audition and provide him/her with a piano score of the
repertoire for the audition.
- If you wish to bring your own accompanist, you may do so.
However, Juilliard will not pay him/her, nor can your Juilliard audition
be rescheduled around your accompanist's availability.
- If you plan to play with a Juilliard-provided accompanist,
please carefully consider general familiarity of your repertoire.
Juilliard cannot guarantee accompanists will know unusual or non-standard
repertoire. Please be particularly mindful to select contemporary works
that have become standard repertoire or have piano parts which are easily
sight read. If the Juilliard accompanists hired for your audition day are
unable to learn or sight read a non-standard work, you may need to play
that work unaccompanied.
Viola (MM)
Prescreen
Repertoire
Two movements from a Bach suite, sonata, or partita.
- First movement of:
- A sonata or equivalent work for viola, solo or with
piano. In the interest of encouraging exploration of a wider range of
repertoire, the following works are EXCLUDED from this requirement: the
two Brahms Sonatas, the Schubert Arpeggione, and the Rebecca Clarke
Sonata.
- We strongly encourage candidates to choose works originally
written for viola. Examples include (but are not limited to): W. F. Bach
C minor Sonata, L. Boccherini C minor Sonata (original viola sonata, not
cello), Weber Andante and Rondo Ongarese, Vieuxtemps Sonata Op. 36 or
Unfinished Sonata, Reger 3 Suites (unaccompanied), Hindemith any of three
sonatas with piano or four unaccompanied sonatas, York Bowen two sonatas,
A. Bax Sonata, Ligeti Unaccompanied Sonata, Babbitt Piece for Viola and
Piano, etc.
Or
- A concerto such as the Bartok, Hindemith Kammermusik no. 5,
Konzertmusik, or Der Schwanendreher or the Walton, etc.
Live
Audition Repertoire
- All compositions except for duo sonatas should be memorized.
- Of Nos. 2 and 3, one must be a 20th or 21st-century
composition.
- A complete solo Bach suite, sonata, or partita.
- A complete sonata or equivalent work for viola, solo or with
piano. In the interest of encouraging exploration of a wider range of
repertoire, the following works are EXCLUDED from this requirement: the
two Brahms Sonatas, the Schubert Arpeggione, and the Rebecca Clarke
Sonata.
- We strongly encourage candidates to choose works originally
written for viola. Examples include (but are not limited to): W. F. Bach
C minor Sonata, L. Boccherini C minor Sonata (original viola sonata, not
cello), Weber Andante and Rondo Ongarese, Vieuxtemps Sonata Op. 36 or
Unfinished Sonata, Reger 3 Suites (unaccompanied), Hindemith any of three
sonatas with piano or four unaccompanied sonatas, York Bowen two sonatas,
A. Bax Sonata, Ligeti Unaccompanied Sonata, Babbitt Piece for Viola and
Piano, etc.
- A complete concerto such as the Bartok, Hindemith Kammermusik
no. 5, Konzertmusik, or Der Schwanendreher or the Walton, etc.
- A short work for viola, solo or with piano, up to about 10
minutes duration composed after 1945 by composers such as Babbitt, Carter,
Persichetti, Penderecki, Kurtag, Ligeti, Zimmermann etc.
Accompanist
information
Works with piano accompaniment must be accompanied for the live
audition.
- We encourage you to use a Juilliard accompanist for your
audition.
- Accompanists will be provided free of charge for the audition;
please note that accompanists charge fees for rehearsals.
- A list of accompanists will be provided approximately two weeks
before auditions. You must contact an accompanist from the list two weeks
prior to your audition and provide him/her with a piano score of the
repertoire for the audition.
- If you wish to bring your own accompanist, you may do so.
However, Juilliard will not pay him/her, nor can your Juilliard audition
be rescheduled around your accompanist's availability.
- If you plan to play with a Juilliard-provided accompanist,
please carefully consider general familiarity of your repertoire.
Juilliard cannot guarantee accompanists will know unusual or non-standard
repertoire. Please be particularly mindful to select contemporary works
that have become standard repertoire or have piano parts which are easily
sight read. If the Juilliard accompanists hired for your audition day are
unable to learn or sight read a non-standard work, you may need to play
that work unaccompanied.
Viola (DMA)
Prescreen
Repertoire
- Two movements from a solo Bach suite, sonata, or partita.
- First movement of :
- A sonata or equivalent work for viola, solo or with piano. In
the interest of encouraging exploration of a wider range of repertoire,
the following works are EXCLUDED from this requirement: the two Brahms
Sonatas, the Schubert Arpeggione, and the Rebecca Clarke Sonata. We
strongly encourage candidates to choose works originally written for
viola. Examples include (but are not limited to): W. F. Bach C minor
Sonata, L. Boccherini C minor Sonata (original viola sonata, not cello),
Weber Andante and Rondo Ongarese, Vieuxtemps Sonata Op. 36 or Unfinished
Sonata, Reger 3 Suites (unaccompanied), Hindemith any of three sonatas
with piano or four unaccompanied sonatas, York Bowen two sonatas, A. Bax
Sonata, Ligeti Unaccompanied Sonata, Babbitt Piece for Viola and Piano,
etc.
- OR
- A complete concerto EXCLUDING the Bartok, Walton and Hindemith
“Der Schwanendreher”; again encouraging exploration of wider repertoire.We
strongly encourage candidates to choose works originally written for
viola. Examples include (but are not limited to): A. Rolla Concerto in
E-flat Major, Vanhall C Major, Hindemith Kammermusik No. 5 or
Konzertmusik, Y. Bowen Concerto, W. Piston Concerto, K. Penderecki
Concerto, J. Harbison Concerto, etc.
Live
Audition Repertoire
- Of Nos. 2 and 3, one must be a 20th or 21st-century composition
- All compositions except for duo sonatas should be memorized.
- A complete solo Bach suite, sonata, or partita.
- A complete sonata or equivalent work for viola, solo or with
piano. In the interest of encouraging exploration of a wider range of
repertoire, the following works are EXCLUDED from this requirement: the
two Brahms Sonatas, the Schubert Arpeggione, and the Rebecca Clarke
Sonata.
- We strongly encourage candidates to choose works originally
written for viola. Examples include (but are not limited to): W. F. Bach
C minor Sonata, L. Boccherini C minor Sonata (original viola sonata, not
cello), Weber Andante and Rondo Ongarese, Vieuxtemps Sonata Op. 36 or
Unfinished Sonata, Reger 3 Suites (unaccompanied), Hindemith any of three
sonatas with piano or four unaccompanied sonatas, York Bowen two sonatas,
A. Bax Sonata, Ligeti Unaccompanied Sonata, Babbitt Piece for Viola and
Piano, etc.
- A complete concerto EXCLUDING the Bartok, Walton and Hindemith
“Der Schwanendreher”; again encouraging exploration of wider repertoire.
- We strongly encourage candidates to choose works originally
written for viola. Examples include (but are not limited to): A. Rolla
Concerto in E-flat Major, Vanhall C Major, Hindemith Kammermusik No. 5 or
Konzertmusik, Y. Bowen Concerto, W. Piston Concerto, K. Penderecki
Concerto, J. Harbison Concerto, etc.
- A short work for viola, solo or with piano, up to about 10
minutes duration composed after 1945 by composers such as Babbitt, Carter,
Persichetti, Penderecki, Kurtag, Ligeti, Zimmermann etc.
Callbacks
The DMA audition process will take at least two days. In
general, you should plan to be available for the entire day following the
scheduled audition date.
- You must be available for all portions of the audition process
in order to be considered for admission.
- Upon the strong recommendation of the audition panel, you may
be invited to a required interview with members of the Doctoral Governance
Committee, usually on the day following your audition. Interviews are
scheduled daily by the Admissions Office as audition results become
available. This interview is, in effect, your callback.
- If you are not invited to the interview, you may reasonably
conclude that you are no longer under consideration for admission.
- You must also take a written exam in music theory and music
history. Exams are given Monday through Friday during the audition week
and include exercises in harmonization and counterpoint, as well as a
music history component. In general, only those invited to interview need
write the exam; however, it may be written on any date that it is offered.
Accompanist
information
Works with piano accompaniment must be
accompanied for the live audition.
We encourage you to use a Juilliard
accompanist for your audition.
Accompanists will be provided free of
charge for the audition; please note that accompanists charge fees for
rehearsals.
A list of accompanists will be provided
approximately two weeks before auditions. You must contact an accompanist from
the list two weeks prior to your audition and provide him/her with a piano
score of the repertoire for the audition.
If you wish to bring your own accompanist,
you may do so. However, Juilliard will not pay him/her, nor can your Juilliard
audition be rescheduled around your accompanist's availability.
If you plan to play with a
Juilliard-provided accompanist, please carefully consider general familiarity
of your repertoire. Juilliard cannot guarantee accompanists will know unusual
or non-standard repertoire. Please be particularly mindful to select
contemporary works that have become standard repertoire or have piano parts
which are easily sight read. If the Juilliard accompanists hired for your
audition day are unable to learn or sight read a non-standard work, you may
need to play that work unaccompanied.
Cello (MM)
Prescreen
Repertoire
- One movement from the standard cello repertoire, such as
Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich, Barber, Herbert,
Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns. Must be
performed from memory.
- A Bach prelude and one other movement from any Bach
suite (the prelude and movement should come from the same Suite). Must
be performed from memory.
Live
Audition Repertoire
- A complete concerto from the standard cello repertoire, such as
Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich, Barber, Herbert,
Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns. Must be
performed from memory.
- A Bach prelude and one other movement from any Bach
suite (the prelude and movement should come from the same Suite). Must
be performed from memory.
- One virtuoso piece such as those listed: Popper Spinning
Song or Elfentanz, Paganini Moto Perpetuo,
Faure Papillons, Boccherini Sonata L’Imperatrice,
Piatti Caprices or Popper Etudes, Davidoff At the Fountain,
Schubert Arpeggione Sonata 1st movement, or
Tchaikovsky Pezzo Capricioso.
- One work composed after 1945 such as works by Carter, Sessions,
Dutilleux, Lutoslawski, Penderecki, Shapey, etc. which is 6-8 minutes in
length. (The work may be either a complete short piece or a complete
movement from a larger work.)
- A short lyrical piece such as Saint-Saëns The Swan,
Fauré Après un Rêve, Chopin/Popper Nocturne No. 2 in E
flat major, Op. 9, No. 2, Mendelssohn Songs Without Words,
Chopin Sonata slow movement, Schumann Five Pieces
in Folk Style, 2nd movement, Schumann Fantasy Pieces, 1st
movement, or the choice of the applicant.
- First movement of a Classical or Romantic sonata. If
Beethoven Op. 5 #1 or #2 is chosen, please only play the Rondos (last
movements).
Accompanist
information
Works with piano accompaniment must be
accompanied for the live audition.
We encourage you to use a Juilliard
accompanist for your audition.
Accompanists will be provided free of
charge for the audition; please note that accompanists rge fees for rehearsals.
A list of accompanists will be provided
approximately two weeks before auditions. You must contact an accompanist from
the list two weeks prior to your audition and provide him/her with a piano
score of the repertoire for the audition.
If you wish to bring your own accompanist,
you may do so. However, Juilliard will not pay him/her, nor can your Juilliard
audition be rescheduled around your accompanist's availability.
If you plan to play with a
Juilliard-provided accompanist, please carefully consider general familiarity
of your repertoire. Juilliard cannot guarantee accompanists will know unusual
or non-standard repertoire. Please be particularly mindful to select
contemporary works that have become standard repertoire or have piano parts
which are easily sight read. If the Juilliard accompanists hired for your
audition day are unable to learn or sight read a non-standard work, you may
need to play that work unaccompanied.
Cello (DMA)
Prescreen
Repertoire
One movement from a concerto from the
standard cello repertoire, such as Dvorak, Schumann, Haydn D or C, Lalo,
Shostakovich, Barber, Herbert, Prokofiev Sinfonia Concertante, Elgar, or
Saint-Saëns Must be performed from memory
A complete Bach suite. Must be
performed from memory
Live
Audition Repertoire
1. A complete concerto from the standard
cello repertoire, such as Dvorak, Schumann, Haydn D or C, Lalo, Shostakovich,
Barber, Herbert, Prokofiev Sinfonia Concertante, Elgar, or Saint-Saëns. Must
be performed from memory
2. A complete Bach suite. Must be
performed from memory.
3. One virtuoso piece such as those listed:
Popper Spinning Song or Elfentanz, Paganini Moto
Perpetuo, Faure Papillons, Boccherini Sonata
L’Imperatrice, Piatti Caprices or Popper Etudes, Davidoff At the
Fountain, Schubert Arpeggione Sonata 1st movement, or
Tchaikovsky Pezzo Capricioso.
4. One work composed after 1945 such as
works by Carter, Sessions, Dutilleux, Lutoslawski, Penderecki, Shapey, etc.
which is 6-8 minutes in length. (The work may be either a complete short piece
or a complete movement from a larger work.)
5. A short lyrical piece such as
Saint-Saëns The Swan, Fauré Après un Rêve,
Chopin/Popper Nocturne No. 2 in E flat major, Op. 9, No. 2,
Mendelssohn Songs Without Words, Chopin Sonata slow
movement, Schumann Five Pieces in Folk Style, 2nd movement,
Schumann Fantasy Pieces, 1st movement, or the choice of the
applicant.
6. A complete Classical or Romantic
sonata. If Beethoven Op. 5 #1 or #2 is chosen, please only play the Rondos
(last movements).
Callbacks
The DMA audition process will take at least two days. In
general, you should plan to be available for the entire day following the
scheduled audition date.
- You must be available for all portions of the audition process
in order to be considered for admission.
- Upon the strong recommendation of the audition panel, you may
be invited to a required interview with members of the Doctoral Governance
Committee, usually on the day following your audition. Interviews are
scheduled daily by the Admissions Office as audition results become
available. This interview is, in effect, your callback.
- If you are not invited to the interview, you may reasonably
conclude that you are no longer under consideration for admission.
- You must also take a written exam in music theory and music
history. Exams are given Monday through Friday during the audition week
and include exercises in harmonization and counterpoint, as well as a
music history component. In general, only those invited to interview need
write the exam; however, it may be written on any date that it is offered.
Double Bass (MM)
Prescreen
Repertoire
One movement from the Bach Cello Suites.
- One movement of a standard concerto (Dragonetti, Vanhal,
Bottesini, Dittersdorf, Koussevitzky), from memory and with piano
accompaniment.
- One standard orchestral excerpt of the applicant's choice.
Live
Audition Repertoire
Two contrasting movements from the Bach Cello Suites.
- Two movements of a standard concerto (Dragonetti, Vanhal,
Bottesini, Dittersdorf, Koussevitzky), from memory.
- Three standard orchestral excerpts of the applicant's choice.
Applicants are expected to bring their
own instruments for the audition. We regret that there is no instrument storage
available at The Juilliard School for auditioning applicants.
Live
Audition Repertoire
Two contrasting movements from the Bach Cello Suites.
- Two movements of a standard concerto (Dragonetti, Vanhal,
Bottesini, Dittersdorf, Koussevitzky), from memory.
- Three standard orchestral excerpts of the applicant's choice.
Applicants are expected to bring their
own instruments for the audition. We regret that there is no instrument storage
available at The Juilliard
School for auditioning applicants.
Accompanist information
Works with piano accompaniment must be accompanied for the live
audition.
- We encourage you to use a Juilliard accompanist for your
audition.
- Accompanists will be provided free of charge for the audition;
please note that accompanists charge fees for rehearsals.
- A list of accompanists will be provided approximately two weeks
before auditions. You must contact an accompanist from the list two weeks
prior to your audition and provide him/her with a piano score of the
repertoire for the audition.
- If you wish to bring your own accompanist, you may do so.
However, Juilliard will not pay him/her, nor can your Juilliard audition
be rescheduled around your accompanist's availability.
- If you plan to play with a Juilliard-provided accompanist,
please carefully consider general familiarity of your repertoire.
Juilliard cannot guarantee accompanists will know unusual or non-standard
repertoire. Please be particularly mindful to select contemporary works
that have become standard repertoire or have piano parts which are easily
sight read. If the Juilliard accompanists hired for your audition day are
unable to learn or sight read a non-standard work, you may need to play
that work unaccompanied.
Double Bass (DMA)
Prescreen
Repertoire
One movement from the Bach Cello Suites.
One movement of a standard concerto
(Dragonetti, Vanhal, Bottesini, Dittersdorf, Koussevitzky), from memory and
with piano accompaniment.
One standard orchestral excerpt of the
applicant's choice.
Live Audition Repertoire
Two contrasting movements from the Bach Cello Suites.
- Two movements of a standard concerto (Dragonetti, Vanhal,
Bottesini, Dittersdorf, Koussevitzky), from memory and with piano
accompaniment.
- Three standard orchestral excerpts of the applicant's choice.
Applicants are expected to bring their
own instruments for the audition. We regret that there is no instrument storage
available at The Juilliard School for auditioning applicants.
Updated 0n 03/18/2019