Applicants to the Curtis Institute of Music must audition in person. Video and/or audio recordings are not considered in place of a live audition at Curtis, except as noted for screened departments.

Applicants to the composition department have original compositions examined by that department; finalists interview in Philadelphia. Applicants who wish to be double majors must audition separately for each major department and must be admitted by each faculty. Auditions are scheduled at the Curtis Institute of Music, 1726 Locust Street, Philadelphia on specific dates for each department at the convenience of the faculty. (The schedule is below.) Curtis is unable to honor requests for changes in the scheduled audition dates. The filing of an application does not oblige the Curtis Institute of Music to grant an audition. Applicants should add to their approved senders’ list to ensure receipt of Curtis admissions e-mails. In early January applicants are notified by e-mail that their applications have been received.

Berio Sequenza Oboe Pdf Free. In the program she were scheduled for the first »stop« at 9. Keiko Enomoto is not replaceable, because the singer must be good in both Japanese and German. Related instruments; Piccolo oboe; Oboe d'amore; Cor anglais (English horn) Oboe da caccia; Wiener oboe; Bass.

By late January those who are granted an audition receive an e-mail announcing their audition date. The audition calendar is posted on the Curtis website in January. Applicants should be aware that auditions may be videotaped and recorded (for panel review only). 2018 Audition Calendar Auditions for admission beginning with the 2018–19 school year will take place in February and March 2018. Audition dates for various disciplines will be added as they are scheduled, with all dates confirmed no later than January 2, 2018. La Maison Kabyle Bourdieu Pdf File. There will be no auditions in 2018 for clarinet and tuba.

Auditions are closed to the public. BASSOON 3/3 BASS TROMBONE TBA CELLO 2/18-19 (finals 2/19) CLARINET No 2018 Auditions COMPOSITION TBA CONDUCTING 3/16 DOUBLE BASS 2/3-4 FLUTE 3/3 GUITAR 3/2 HARP 3/10 HORN TBA OBOE 3/3 OPERA 3/23-25 (finals 3/25) ORGAN TBA PERCUSSION 2/24-25 PIANO 3/17-19 (finals 3/19) QUARTET RESIDENCY TBA TROMBONE TBA TRUMPET TBA TUBA No 2018 Auditions VIOLA 3/2-3 (finals 3/3) VIOLIN 3/19-21 (finals 3/21) VOICE 3/21-22 (finals 3/22) Repertoire Some departments permit latitude in the selection of works to be presented, while others require specific repertoire.

Conducting applications are accepted for the post-baccalaureate diploma program only. Applicants must submit a screening video with the application to be considered for the live auditions. Applicants will be notified in January of their live audition status. Screening Recording Applicants must submit a high-quality audio-visual recording by December 11, 2017 as follows: • Include three to four excerpts showing various musical styles from standard orchestral, operatic, and contemporary works. The excerpts can be derived from performances or rehearsals, and the entire recording should not exceed 20 minutes in length. • The recording must be representative of the applicant’s current work. • The applicant must be clearly visible.

Live Audition All Conducting Fellow applicants selected for a live audition must demonstrate their knowledge of score analysis, harmony, counterpoint, score reading, and aural maturity in a 45-minute private session with members of the Curtis Musical Studies faculty as well as a 30-minute group session consisting of a series of dictations. Applicants selected as finalists will move on to the conducting round of the audition. Piano Applicants will play from memory: • A complete work of J. Bach • One of the sonatas listed below (complete and by memory): • Any Mozart sonata (except K. 545) • Any Beethoven sonata (except Op.

49) • Any of these five Haydn sonatas: • A-flat major, Hob. 31 • C minor, Hob. 33 • E-flat major, Hob. 59 • C-major, Hob. 60 • E-flat major, Hob.

62 • One slow and one fast selection from the works of Chopin for solo piano (no works of Chopin for piano and orchestra will be acceptable) • A complete major work (minimum 10-12 minutes in length) of the applicant's choice No substitutions for the above repertoire will be allowed. Organ Applicants will play from memory: • A prelude and fugue by J. Bach • An allegro movement from a Bach trio sonata or comparable chorale-prelude • Two movements from the romantic or contemporary literature, one of which should be a slow movement Organ applicants will also be asked to sight-read. A modern composition will be sent to each auditionee one month prior to auditions and will be performed (optional: from memory) at the audition. The organ in Field Concert Hall is an Aeolian-Skinner, 5 manuals, 116 ranks.

See detailed specification. Applicants should demonstrate a knowledge of the fundamental techniques of percussion and timpani. They will be examined on timpani pitch recognition and technical skills such as rolls. They should be prepared to perform: • One study on timpani • One two-mallet work on marimba or xylophone • One four-mallet work on marimba • Two studies on snare drum—classical and rudimental Applicants will also be expected to demonstrate their ability to sight-read.

Applicants must possess a good ear and be able to sing and recognize all intervals. Voice (Bachelor of Music and Diploma Programs) Voice applicants must be at least 18 years old as of September 1 of the year of acceptance. All applicants in Voice are required to submit a screening recording with application materials by Monday, December 11, 2017. The following format types are accepted: • Audio (.mp3) • Video (.asf,.avi,.flv,.mov,.m4v,.mp4,.mpg,.mvb,.swf,.wmv) • Images (.bmp,.gif,.jpg,.jpeg,.png,.tiff) • Documents (.doc,.pdf,.xls) Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB.

Please upload each piece as its own file. Screening Repertoire The three repertoire selections for the screening should include accompaniment and should show contrast in musical styles and tempos. Please make certain the recording is of good quality, as the granting of a live audition will depend upon this. Applicants will be notified of decisions regarding live auditions by mid-January. Live Audition Repertoire Singers who audition live will be asked to perform up to four selections from memory, showing the character and quality of voice and musicianship: • One selection in English (not a translation) • Three selections from the standard oratorio repertoire, German lieder, classic Italian songs, or French and English songs of any period • An aria from an opera or oratorio is welcome but not required Though an accompanist is provided, voice applicants may supply their own accompanist if they prefer.

A short test of musical theory and sight-singing may be asked of the applicants in the final round of auditions. Opera (Master of Music and Professional Studies Certificate Programs) All applicants in Opera are required to submit a screening recording with application material by Monday, December 11, 2017. The following format types are accepted: • Audio (.mp3) • Video (.asf,.avi,.flv,.mov,.m4v,.mp4,.mpg,.mvb,.swf,.wmv) • Images (.bmp,.gif,.jpg,.jpeg,.png,.tiff) • Documents (.doc,.pdf,.xls) Total portfolio size needs to be under 900MB, with a maximum file size of 500 MB. Please upload each piece as its own file. Screening Repertoire The three repertoire selections for screening should include accompaniment and should show contrast in musical styles and tempos. Please make certain the recording is of good quality, as the granting of a live audition will depend upon this.

Applicants will be notified of decisions regarding live auditions by mid-January. Live Audition Repertoire Vocalists who audition live will be asked to perform from memory: • Up to five contrasting arias from the standard operatic repertoire Though an accompanist is provided, opera applicants may supply their own accompanist if they prefer. A short test of musical theory and sight singing may be asked of the applicants in the final round of auditions. No substitutions or exceptions to the stated audition requirements will be permitted. In addition to the stated requirements, applicants may be asked to show their sight-reading ability. A knowledge of piano and music theory is desirable. While the choice of composition is important, audition performance carries the greater weight.

The final admission decision rests upon the evidence of talent shown rather than upon the degree of proficiency already attained. Admission is limited to those whose inherent musical gift shows promise of development to a point of exceptional professional quality. In major departments with more than one instructor, student placement is determined by the consensus of the faculty of that department. Accommodations Some hotels in the vicinity of Curtis provide special discount rates should you need accommodations during your visit to Philadelphia. Please mention the Curtis Institute of Music when making your reservations. If you mention “college campus visit rate” when making your reservation, you may receive a discounted rate. • •, 1628 Chestnut Street, (215) 282-5100 •, 1701 Locust Street, (800) 333-3333 (toll-free) Accompanists Curtis will provide an accompanist for auditions in cello, guitar, flute, opera, viola, violin, and voice.

All other auditions are played without piano. The applicant must supply Curtis’s accompanist with the appropriate piano scores at the time of audition. If no music is provided, it is up to the discretion of the audition committee whether the audition will be heard. Photocopied music is not acceptable in place of a score. No pre-audition rehearsal with Curtis’s accompanist is permitted.

Microtemp Mt 100 Manual. Procedures Applicants may warm up for 30 minutes in an assigned practice room before their auditions. If an applicant is late for the scheduled audition, the audition committee will decide whether or not to hear the audition.

The committee is not obliged to hear all the music that an applicant may have prepared, nor to give an audition evaluation. Fee Audition fee: $150 ($50 for screened departments), payable once the applicant is notified of the audition date This fee must be paid before the applicant is permitted to audition. For non-screened departments, the $150 audition fee is in addition to the $150 application fee. For screened departments, the $50 audition fee is in addition to the $250 application/screening fee.

Contents • • • • • • • • • • • • • • • • • • • Sound [ ] In comparison to other modern, the treble oboe is sometimes referred to as having a clear and penetrating voice. The Sprightly Companion, an instruction book published by in 1695, describes the oboe as 'Majestical and Stately, and not much Inferior to the Trumpet.' Humorously, the sound is described in the play as like 'that of a duck if the duck were a songbird'. The rich is derived from its (as opposed to the generally of and ). As a result, oboes are readily audible over other instruments in large ensembles.

The highest note is a semitone lower than the nominally highest note of the B ♭. Since the clarinet has a wider range, the lowest note of the B ♭ clarinet is significantly deeper (a major or minor sixth) than the lowest note of the oboe. Music for the standard oboe is written in concert pitch (i.e., it is not a ), and the instrument has a range, usually from B ♭ 3 to G 6. Orchestras tune to a played by the first oboe.

According to the League of American Orchestras, this is done because the pitch is secure and its penetrating sound makes it ideal for tuning. The pitch of the oboe is affected by the way in which the is made. The reed has a significant effect on the sound.

Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch. German and French reeds, for instance, differ in many ways, causing the sound to vary accordingly. Weather conditions such as temperature and humidity also affect the pitch.

Skilled oboists adjust their to compensate for these factors. Subtle manipulation of embouchure and air pressure allows the oboist to express timbre and dynamics. 's Gran Concerto for Oboe and Piano. Performed by, oboe and Lisa Bergman, piano.

The oboe begins playing about one minute in. Problems playing this file? History [ ] The regular oboe first appeared in the mid-17th century, when it was called a hautbois. This name was also used for its predecessor, the, from which the basic form of the hautbois was derived.

Major differences between the two instruments include the division of the hautbois into three sections, or joints (which allowed for more precise manufacture), and the elimination of the, the wooden ledge below the reed which allowed players to rest their lips. The exact date and place of origin of the hautbois are obscure, as are the individuals who were responsible. Circumstantial evidence, such as the statement by the flautist composer in his Memoire, points to members of the (Filidor) and families. The instrument may in fact have had multiple inventors.

The hautbois quickly spread throughout Europe, including Great Britain, where it was called 'hautboy', 'hoboy', 'hautboit', 'howboye', and similar variants of the French name. It was the main melody instrument in early military bands, until it was succeeded by the. The standard Baroque oboe is generally made of and has three: a 'great' key and two side keys (the side key is often doubled to facilitate use of either the right or left hand on the bottom holes). In order to produce higher pitches, the player has to 'overblow', or increase the air stream to reach the next harmonic. Notable oboe-makers of the period are the Germans and J.H. Eichentopf, and the English Thomas Stanesby (died 1734) and his son Thomas Jr (died 1754). The range for the Baroque oboe comfortably extends from.

With the resurgence of interest in in the mid 20th century, a few makers began producing copies to specifications taken from surviving historical instruments. Classical oboe, copy by Sand Dalton of an original by Johann Friedrich Floth, c.

1805 Classical [ ] The period brought a regular oboe whose bore was gradually narrowed, and the instrument became outfitted with several keys, among them were those for the notes D ♯, F, and G ♯. A key similar to the modern octave key was also added called the 'slur key', though it was at first used more like the 'flick' keys on the modern German.

[ ] Only later did French instrument makers redesign the octave key to be used in the manner of the modern key (i.e. Held open for the upper register, closed for the lower). The narrower bore allows the higher notes to be more easily played, and composers began to more often utilize the oboe's upper register in their works. Because of this, the oboe's in the Classical era was somewhat broader than that found in Baroque works. The range for the Classical oboe extends from C 4 to F 6 (using the system), though some German and Austrian oboes are capable of playing one half-step lower. Classical-era composers who wrote concertos for oboe include (both the solo concerto in C major K. 314/285d and the lost original of Sinfonia Concertante in E ♭ major K.

297b, as well as a fragment of F major concerto K. 417f),, (both the Sinfonia Concertante in B ♭ Hob. I:105 and the spurious concerto in C major Hob. VIIg:C1), (the F major concerto, Hess 12, of which only sketches survive, though the second movement was reconstructed in the late 20th century), and numerous other composers including,,, and. Many solos exist for the regular oboe in chamber, symphonic, and operatic compositions from the Classical era. Viennese or Wiener oboe [ ].

The members of the oboe family from top:,,,, regular oboe, and The standard oboe has several siblings of various sizes and playing ranges. The most widely known and used today is the cor anglais, or English horn, the tenor (or alto) member of the family.

A; it is pitched in F, a perfect fifth lower than the oboe. The oboe d'amore, the alto (or mezzo-soprano) member of the family, is pitched in A, a minor third lower than the oboe. Made extensive use of both the oboe d'amore as well as the taille and, Baroque antecedents of the cor anglais. Even less common is the bass oboe (also called baritone oboe), which sounds one octave lower than the oboe. And both scored for the instrument.

Similar to the bass oboe is the more powerful, which has a wider bore and larger tone than the baritone oboe. Only 165 heckelphones have ever been made. Not surprisingly, competent heckelphone players are difficult to find due to the extreme rarity of this particular instrument. The least common of all are the musette (also called oboe musette or piccolo oboe), the sopranino member of the family (it is usually pitched in E ♭ or F above the oboe), and the (typically pitched in C, two octaves deeper than the standard oboe). Folk versions of the oboe, sometimes equipped with extensive keywork, are found throughout Europe.

These include the musette (France) and the and (), the and (Italy), and the (also spelled ) (Spain). Many of these are played in tandem with local forms of, particularly with the Italian or Breton. Similar oboe-like instruments, most believed to derive from Middle Eastern models, are also found throughout Asia as well as in North Africa. An oboe reed Most professional oboists make their reeds to suit his or her individual needs.

By making their reeds, oboists can precisely control factors such as tone color, intonation, and responsiveness. Occasionally, novice oboists may begin with a Fibrecane reed, which is made of a synthetic material.

Commercially available cane reeds are available in several degrees of hardness; a medium reed is very popular, and most beginners use medium-soft reeds. These reeds, like clarinet, saxophone, and bassoon reeds, are made from. As oboists gain more experience, they may start making their own reeds after the model of their teacher or buying handmade reeds (usually from a professional oboist) and using special tools including gougers, pre-gougers, guillotines, knives, and other tools to make the reed to their liking. According to the late, former principal oboist of the, an oboe student must fill a laundry basket with finished reeds in order to master the art. 'Making good reeds requires years of practice, and the amateur is often well advised not to embark on making his own reeds. Orchestral musicians sometimes do this [make reeds], and co-principals in particular often earn a bit on the side in this way.

Many professional musicians import their reed cane. Directly from the growers in southern France and split it vertically into three parts themselves. Oboes require thicknesses of about 10 millimeters.'

[ ] This allows each oboist to adjust the reeds precisely for individual embouchure, oral cavity, oboe angle, and air support. The reed is considered the part of oboe playing that makes it so difficult because slight variations in temperature, altitude, weather, and climate will change a perfectly working reed into an unplayable collection of cane. Notable classical works featuring the oboe [ ]. Vienna Symphonic Library. Retrieved 9 September 2012. • Marcuse 1975, 371.

• Kushner 1993, 167: 'The oboe: official instrument of the International Order of Travel Agents. If the duck was a songbird it would sing like this. Nasal, desolate, the call of migratory things.' • • Thomas, Julia..

Rockford Symphony Orchestra. Rockford Symphony Orchestra. Retrieved October 20, 2014. • American League of Orchestras, (accessed January 1, 2009). • Burgess & Haynes 2004, 27 • Burgess & Haynes 2004, 28 ff • Carse 1965, 120. • Burgess & Haynes 2004, 102.

• Burgess & Haynes 2004, 212. Guntram Wolf.

Retrieved 27 November 2012. • Howe and Hurd 2004.

• Joppig 1988, 208–209. • Masterclass by John Mack, Aspen Music Festival and School, 2004 • • 2009-01-02 at the. Dave Wild • Encyclopaedia Metallum • Hoboe.com • Allmusic.com • • • References [ ] • Baines, Anthony: 1967, Woodwind Instruments and Their History, third edition, with a foreword by Sir Adrian Boult. London: Faber and Faber. • Beckett, Morgan Hughes: 2008, 'The Sensuous Oboe'. Orange, CA: Scuffin University Press..

• Burgess, Geoffrey, and Bruce Haynes: 2004, The Oboe. The Yale Musical Instrument Series. New Haven, Connecticut and London: Yale University Press..

• Carse, Adam: 1965, Musical Wind Instruments: A History of the Wind Instruments Used in European Orchestras and Wind-Bands from the Later Middle Ages up to the Present Time New York: Da Capo Press.. • Gioielli, Mauro: 1999. 'La 'calamaula' di Eutichiano'. Utriculus 8, no. 4 (32) (October–December): 44–45. • Harris-Warrick, Rebecca: 1990, 'A Few Thoughts on Lully's hautbois' Early Music 18, no.

1 (February, 'The Baroque Stage II'): 97-98+101-102+105-106. • Haynes, Bruce: 1985, Music for Oboe, 1650-1800: A Bibliography. Fallen Leaf Reference Books in Music, 8755-268X; no. Berkeley, California: Fallen Leaf Press.. • Haynes, Bruce: 1988, 'Lully and the Rise of the Oboe as Seen in Works of Art'. Early Music 16, no.

3 (August): 324–38. • Haynes, Bruce: 2001, The Eloquent Oboe: A History of the Hautboy 1640–1760.

Oxford Early Music Series. Oxford and New York: Oxford University Press.. • Howe, Robert: 2003, 'The Boehm System Oboe and its Role in the Development of the Modern Oboe'. Galpin Society Journal 56:27–60 +plates on 190–92.

• Howe, Robert, and Peter Hurd: 2004, 'The Heckelphone at 100'. Journal of the American Musical Instrument Society 30:98–165. • Joppig, Gunther: 1988. The Oboe and the Bassoon, translated by Alfred Clayton. Portland: Amadeus Press.. • Kushner, Tony: 1993. Angels in America: A Gay Fantasia on National Themes, single-volume edition.

New York: Theatre Communications Group.. • Marcuse, Sybil: 1975, Musical Instruments: A Comprehensive Dictionary Revised edition, The Norton Library, New York: W. External links [ ] Wikimedia Commons has media related to. • bibliography of literature for oboe written between 1650 and 1800. • Student, intermediate & professional oboes explained. • ( link, was ) • NPR story by Debbie Elliott • Chisholm, Hugh, ed.

Cambridge University Press. • of clips of dozens of prominent oboists in the United States, Europe, and Australia • from the Woodwind Fingering Guide • for Android devices •.